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A  THIRD  BOOK  IN 
VOCAL   MUSIC 


WHEREIN   THE   STUDY    OF   MUSICAL    STRUCTURE    IS    PURSUED 

THROUGH  THE  CONSIDERATION  OF  COMPLETE  MELODIC 

FORMS    AND  PRACTICE   BASED  ON    EXERCISES 

RELATED  TO  THEM 


ELEANOR  SMITH 

AUTHOR  OF   "SONGS   FOR   LITTLE  CHILDREN,"  TEACHER  OF  MUSIC  IN   THE   CHICAGO  KINDERGARTEN 

COLLEGE    AND   FROEBEL'S    KINDERGARTEN   SCHOOL.      FORMERLY   IN   CHARGE 

OF  DEPARTMENT  OF  VOCAL  MUSIC  IN   THE   COOK 

COUNTY   NORMAL   SCHOOL 


C.  E.  RICHARD  MUELLER,  A.M. 


SILVER,  BURDETT  AND  COMPANY 

NEW  YORK  BOSTON  CHICAGO 


In  addition  to  the  songs  and  poems 
copyrighted  separately,  this  volume  con- 
tains much  original  material  which  is 
covered  by  the  general  copyright  of  the 
book  and  must  not  be  used  without 
special  permission. 


Copyright,  1898, 
BY  SCOTT,  FORESMAN  &  COMPANY 


Copyright,  1901, 
Bv  STLVER,  BURDETT  &  COMPANY 


rrr 


THE  MODERN  MUSIC  SERIES. 

"Knowledge  has  its  beginning  from  the  tnind  ;  its  introduction  from  the  senses." 


There  are  two  essential  things  to  be  considered  in  the  musical  education  of  tht 
child : 

1st.  The  cultivation  of  the  musical  sense — the  appreciation  and  love  of  music. 

2d.  The  development  of  the  understanding  in  the  elements  of  music — the  ability 
to  read  at  sight,  etc. 

These  two  phases  of  growth  are  in  no  way  autagonistic  to  each  other ;  on  the 
contrary,  the  child  can  only  grow  properly  in  each  through  the  influence  of  the 
other.  Some  teachers  would  emphasize  the  importance  of  sight  reading  and  tech- 
nical training,  as  if  the  development  of  independent  ability  were  the  only  essential 
thing  in  music  training  ;  while  others  would  emphasize  song  singing  and  musical 
expression  at  the  expense  of  independent  ability.  The  simple  truth  is,  that  neither 
is  complete  without  the  other;  that  one  must  grow  from  and  relate  to  the  other,  and 
that  their  relation  must  be  definitely  established  and  continuously  sustained. 

The  distinguishing  feature  of  The  Modern  Music  Series  is  the  relation  between 
the  songs  and  studies.  By  taking  the  student  from  the  song  to  the  study,  and  by 
relating  the  study  centers  to  music  of  high  character,  the  child  gains  power  in  the 
elements  of  music  uuder  the  influence  of  the  best  musical  thought,  and  thus  attains 
the  ideal  of  education,  since  the  true  spirit  of  the  art  of  music  dominates  and  influ- 
ences him  at  every  stage  of  his  progress. 

A  THIRD  BOOK  IN  VOCAL  MUSIC. 

It  is  assumed  that  by  the  time  the  pupil  is  prepared  to  take  up  the  study  of  the 
lessons  presented  in  this  book,  he  has  mastered  the  elementary  principles  that  are 
necessary  for  the  reading  and  understanding  of  such  songs  of  our  most  notable  com- 
posers as  are  here  given — songs  which  are  simple  without  being  dull,  and  beautiful 
without  being  unduly  intricate  or  difficult.  It  does  not  follow,  however,  that  the 
pupil's  ability  to  sing  these  more  difficult  songs  creditably  is  a  sign  that  he  is  ready 
for  the  study  of  the  higher  harmonic  laws,  except  in  so  far  as  they  are  involved  in 
the  practical  experience  of  singing.  For  these  reasons,  therefore,  the  material  in 
this  book  is  arranged  with  the  object  of  making  clearer  the  principles  already 
learned,  and  of  leading  the  pupil  to  the  higher  musical  enjoyment  incident  to  the 
exercises  of  more  advanced  and  artistic  part  singing. 

Considered  from  this  standpoint,  the  advance  in  difficulty  of  the  Third  Book 
over  the  preceding  books  of  the  series  is  very  apparent ;  and  since,  by  this  course, 
the  student  is  brought  to  a  practical  facility  in  deciphering  and  singing  the  best 

2440').! 


4  THE  MODERN  MUSIC  SERIES. 

compositions,  the  degree  of  technical  thoroughness  may  be  considered  to  be  as  great 
as  can  be  justified  by  sound  educational  principles.  While  discipline  is  what  might 
be  called  a  by-product  of  the  music  work  in  school,  there  are  other  by-products  of 
the  music  hour  which  are  worth  more  to  the  individual,  and  to  the  school,  than  any 
possible  discipline  through  the  study  of  abstract  musical  principles.  The  object  of 
The  Modern  Music  Series  is  to  furnish  an  incitement  aud  a  facility  to  art  experi- 
ence in  music,  rather  than  discipline  purely  as  such. 

The  principle  of  the  inter-relation  of  musical  forms  is,  in  the  main,  the  same  in 
this  book  as  in  the  lower  ones  of  the  series,  being  from  (a)  inelody,  to  (b)  melody  iu 
combination  (the  canonic  form,  the  round,  etc.),  to  (c)  part  work  as  such,  in  two, 
three  and  four  parts.  The  essential  difference  between  this  book  and  the  preceding 
books  of  the  series  is  that  the  initiative  of  the  musical  idea  is  no  longer  through 
imitation.  By  the  arrangement  of  material  the  pupil  is  constantly  stimulated  to  an 
independent  effort  in  sight  reading,  his  maturing  faculties  and  his  changed  attitude 
toward  singing  being  thus  recognized. 

The  contests  of  the  Third  Book  op  Vocae  Music  may  be  divided  into  four 
groups : 

Group  i.    Pages  6  to  83. 

A  presentation  of  the  nine  different  keys  in  the  order  of  their  harmonic  relations, 
each  key  being  introduced  with  a  graphic  showing  of  the  intervals  of  the  major  and 
minor  scales.  The  nine  sets  of  key  pages  may  be  made  the  foundation  for  interval 
study. 

Group  2.    Pages  84  to  hi. 

Begins  with  an  illustration  of  Sharp  4  and  Flat  7,  as  shown  through  modula- 
tion, contrasting  these  intervals  with  chromatics  occurring  as  passing  tones  in  the 
songs  and  studies  following,  and  closes  with  an  analytical  view  of  the  i** Nervals  of 
the  major  and  minor  scales. 

Group  3.    Pages  112  to  125. 

A  review  of  the  different  keys  in  regular  order,  presenting  the  studies  and  songs 
in  unrelated  form  in  order  that  the  pupil  may  be  held  to  a  strictly  analytical  consid- 
eration of  the  musical  elements  underlying  the  different  musical  forms.  This  group 
closes  with  studies  in  difficult  intervals,  which  are  simplified  by  being  first  shown 
with  intermediate  tones. 

Group  4.    Page  125  to  the  close  of  the  book. 

The  introduction  of  the  bass  clef.  This  group  begins  with  easy  studies,  and  is 
calculated  to  awaken  the  interest  of  the  boys  through  attractive  melodies  in  the 
bass.  Throughout,  the  work  in  the  bass  clef  is  related  in  many  instances  to  the 
studies  and  songs  of  unchanged  voices,  sometimes  taking  up  the  same  melody  in 
combination  ;  sometimes  by  relating  the  bass  unison  songs  to  the  same  melody  har- 
monized with  soprano  or  alto,  or  both  ;  and  sometimes  by  following  a  unison  or  part 
song  with  a  three  or  four  part  study  or  song,  bringing  in  the  bass  voices  —  a  climax 
to  the  interest  of  the  entire  class,  by  which  the  part  that  the  boys  are  expected  to 
take  in  the  singing  is  dignified,  thus  enticing  them  into  the  musical  work.  In  most 
instances  the  bass  is  optional,  a  duplicate  part  being  written  in  the  treble  clef  for 
lower  alto  voices  ;  but  even  where  the  optional  bass  is  not  written,  the  arrangement 
is  such  that  the  alto  may  sing  the  bass  an  octave  higher,  so  that  practically  all  the 
material  contained  in  the  book  can  be  used  if  bass  voices  are  not  available. 

To  the  body  of  the  book  is  added  a  table  of  keys,  showing  the  relation  of  the 
major  key  to  the  tonic  and  relative  minor  key  ;  also  a  concise  discussion  of  the 
rudiments  of  music  to  which  reference  is  made  throughout  the  book. 


TABLE  OF  CONTENTS. 


SONGS   OF  THE 

TITLE. 

March  

The  Coming  of  Spring 

The  First  Grass 

Spring  Song 

Spring  Song 

Come,  Happy  Spring 

Springtime  is  Returning  ... 

The  Spring  Journey 

April  

May  

May  Song 

Stay  So,  Sweet  Season 

The  Summer  Days  are  Com- 
ing      

Summer  Days  

Spirit  of  the  Summer  Time. . 

A  Summer  School 

A  Lament  for  the  Summer  . . 

Autumn 

Autumn  Days 

October  

Sickle  Song 

Old  Winter 

The  Four  Seasons  


SEASONS. 

COMPOSER.  PAGE. 

Wendt 163 

Mozart 54 

Schumann  121 

Vogel...^ 104 

Gade 83 

Giordani 236 

Welsh 206 

Spohr 230 

Oehme 10 

Billeter  46 

Mendelssohn 208 

Seidel  77 

Schalrn 180 

Eleanor  Smith 65 

Irish  Folksong 19 

Liebe 205 

Gilchrist    138 

Gramm(Arr.) 39 

Jlaumf elder 112 

German  Air 128 

Old  English 11 

Eleanor  Smith 136 

Clay   20 


SONGS   OF   NATURE. 

April  Showers Hatton 

Ariel's  Sontc Schartau 

A  Snowy  Day A'tenhofer 

A  Storm Gilchrist  

Awake  !  Awake  1  The  Dawn 

is  Here  Galty 

Corn  Song Klein 

Daffodils  German 

Farewell  to  the  Woods Esser  

Flower  Dances Folksong  

Goodnight Taubert 

Gypsy  Song Schubert 

How  Merrily  We  Live:    .   ...Este   

Now  the  Sun  is  in  the  West  .Margaret  Casson. . 

O  Hemlock  Tree !   Folksong 

The  Archer Old  Melody 

The  Bird's  Farewell Liebe 

The  Brooklet Graben- Hoffmann. 

The  Chapel  in  the  Wood  Schletterer  

The  Daisy Gilchrist  

The  Happy  Farmer Schumann  

The  Meadow  is  a  Battlefield. Eleanor  Smith 

The  Pleasures  of  the  Coun- 
try   Haydn 


122 

194 

174 
158 

116 
234 
191 
150 
133 

88 
213 
106 
140 
130 
170 

57 
100 

37 
116 
164 

62 


TITLE.  COMPOSER.  PAGE. 

The  Rising  of  the  Lark Welsh 204 

The  Snow  Melts  Fast Gilchrist 87 

The  Sweet  Birds  are  Sing- 
ing  Walker  172 

The  Way  for  Billy  and  Me.  ..Gruenberger 12 

Twilight  at  Sea Folksong  226 

Wanderer's  Song Gade 103 

Wandering Gruenberger  (Arr. )  202 

Welcome.  Wild  Northeaster. Jaspersen 212 

OCCASIONAL. 

A  Thanksgiving  Ode English 162 

Auld  Lang  Syne Scotch  Air 193 

Christmas  Bells Mueller- Gilchrist ..  137 

Christmas  Bells 240 

Christmas  Day    Rheinberger 224 

Christmas  Hymn Sullivan  (Arr.) 155 

Decoration  Day Flemish  Folksong.  185 

Easter  Ode Eleanor  Smith 228 

Good-by,  Old  Year  Tyson- Wolff 156 

Thanksgiving  Day Canon  Ainslee 152 

The  Old  Year  Schulz  78 


ROUNDS  AND  CANONS. 

Arnold 97 

Gilchrist 24 

Byrd 53 

Cocchi  120 


All  Nature  Smiles 

In  April 

Hey-Ho,  to  the  Greenwood 
The  Fly 


Thy  Mercies  Lord Tallit 18 

We  Merry  Minstrels..  Purcell 15 

Winter  and  Spring  Gramm 69 

LULLABIES. 

A  Norse  Lullaby Gilchrist 144 

Hey  Baloo Schumann 95 

Peaceful  Slumbering Storace   160 

Sleep,  Baby  Sleep Brahms 92 

Swingingthe  Hammock Winter/eld 0    98 

Hush-a-By-Baby Lorraine 25 

SONGS   OF  ACTION. 

A  Hunting  Song Kreutzer 115 

Archer's  U lee Stafford  Smith 70 

A  Sky  Voyage  French  Melody. ...  32 

Bugle  Song Gilchrist 186 

The  Fox  Hunt English 169 

The  Hunter's  Song Voelckerling 222 

The  Wanderer Schneider 143 


TABLE  OF  CONTENTS. 


60NGS  OF  ACTION-Continued. 

TITLE.  COMPOSER.  PAGE. 

The  Wild  Huntsman German 132 

Under  the  Greenwood  Tree  .Old  English, 27 

We  March  Away Stern 214 


PATRIOTIC  AND  HEROIC  SONGS. 

America ....  Carey 

Battle  Hymn  of  the  Repub- 
lic  


129 


166 

44 


Battle  Song Hartmann 

Come,    Ever-Smiling      Lib- 
erty   Handel 231 

Hail  Columbia Phyla 96 

I  Lean  Against  the  Mast Mendelssohn 72 

Keller's  American  Hymn.... Keller 210 

Land  of  Greatness,  Home  of 

Glory Haydn 220 

My    Heart's    In    the    High- 
lands  Courtney 192 

Santa  Lucia Italian  Boat  Song.  146 

Sir  Hugh  de  Bray Klein 218 

Tenting   on   the   Old    Camp 

Ground Killredge 200 

The  Hardy  Norseman Norse  National 

Song 43 

The  King  in  Thule Zelter 127 

The  Watch  on  the  Rhine Wilhelm  176 

To  His  Country Klein  153 

Why  Lingers  My  Gaze Welsh  .... 189 


ETHICAL  SONGS. 

After  Many  Roving  Years... Horn  ... 
A  Happy  Life Benedict. 


198 

86 


TITLE.  COMPOSER.         PAGE. 

Blow,    Blow,    Thou    Winter 

Wind  Stevena 177 

Friendship Mozart 34 

Home,  Sweet  Home Irish  Folksong 90 

In  the  Tempest. Tyson-Wolff 182 

Kelvin  Grove  Scotch 219 

Lordy  Gallants Callcoit 196 

Mother  Dear Oehine 118 

Music Reichara* 61 

The  Child  and  the  Year English 7 

The  Christmas  Rose Hamma 51 

The  Falcon   Conradi 239 

Spinning  Song    Rheinberger  114 

TheGlowworm  Barnby  148 

The  Good  Comrade Folksong 131 

The  Light  of  Stars Tyson-Wolff 119 

OEVOTIONAL  SONGS. 

Above  the  Clear  Blue  Sky ...  Hopkins  (Arr.) 188 

A  Song  of  Praise Gruenberger 23 

Awake  My  Soul,  and  With 

the  Sun   Barthelemon 190 

Evening  Prayer  Mueller 184 

Morning  Hymn English 134 

Now  Thank  We  All  Our  God ,  Rinkarl 227 

O    Lord,  Another    Day    Is 

Flown Isaac  Smith    216 

O  Lord.  Our  God,  the  Light 

and  Truth Clark  168 

Prayer.  Schubert 123 

The  Lord  My  Pasture  Shall 

Prepare Carty 207 

When  Night  Comes.  Reichardt    216 


A  THIRD  BOOK  IN  VOCAL 
MUSIC. 


The  Child  and  the  Year. 


Celia  Thaxter. 

By  arrangement  with  Houghton,  Mifflin  A  Co 

Andante.  — =d 


English* 


1.  Said  the  child    to  the  youth -ful        year:  "  What  hast  thou   in        store     for 

2.  "My        sea   -    sons     four       shall  bring       Their   treas-ures:  the  win  -  ter's 

3.  All        these     and     more    shall  be  thine,     Dear     child — but  the  last     and 

4.  Would' st  know  this     last,      best      gift?      'Tis    a    con  -  science  clear  and 


H 


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me,  O         giv    -  er    of  beau  -   ti  -  ful  gifts!  what    cheer,      What 

snows,  The        au    -  tumn's  store,    and   the  flow'rs  of       spring,  And  the 

best  Thy  -  self  must     earn       by      a  strife  di    -   vine,        If 

bright,        A        peace  of         mind  which  the  soul  can        lift         To  an 


joy      dost  thou  bring  with   thee, 

sum  -  mer's     per  -   feet     rose, 

thou  would'st  be  tru  -  ly        blest, 

in  -  fl    -     nite      de  -   light, 


What     joy     dost  thou  bring  with  thee?" 
And  the  sum  -  mer's    per  -  feet     rose. 

It         thou  would'st  be  tru  -  ly      blest. 
To  an     in   -    fl    -    nite      de  -  light." 


A  Canon. 


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The  Key  of  C  Major. 


Signature —  E&r:  no 

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sharps  nor  flats.     Keynote — C  on  the  first  line 
below,  and  in  the  third  space. 

Triads  of  C  Major. 


Ep 


iu  1 1 1 1 ,  i jj 


a 


1 


A  further  treatment  of  Triads  will  be  found  on  page  252,  under  Kudiments 
of  Music. 

Studies. 
I. 


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The  Key  of  C  Major  and  its  Relative  Minor  Contrasted.    9 

The  Scale  of  A  Minor,  Harmonic  Form.  The  Scale  of  C  Major. 


The  har- 
monic  form   of 
the  Minor  scale  is 
the  same  ascending  and 
descending. 


Re     2 


Do     1 

Ti      7 


La     6 


comparison 
of  the  Major,  Rela- 
Minor,  and    Tonic 
Minor  scales  in  different  keys 
is  shown  on  page  241. 


The  Scale  of  A  Minor,  Melodic  Form,  Ascending  and  Descending. 


La     6 


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I. 


Studies  in  A  Minor. 


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Allegretto. 


April. 


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They  tossed  them    off       in     silk  -  en  scarfs  And  would   not     set    them  free, 
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But    quick  -  ly  drew  them  back    a  -  gain  In       gay  -  est     rev  -  el  -   ry. 
Then   hur  -  r'ing  fast  they  threw  a  -  cross  The   hills     a       veil    of    snow. 

I*  Studies. 


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Hoelty. 
Andante. 

Sic  -  kles  sound; 
Sic  -  kles  ring, 


Sickle  Song. 


On    the  ground 
Maid-ens  sing 

S       N        j 


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To 


11 

Old  English. 

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d  f\ 


t^r 


Joy     is         o    -    ver     all, 
Har  -  vest    songs    go     round, 


Joy,     joy      is         o    -    ver  all. 

Har  -  vest    songs    go         round. 


Intermediate  Tones. 

This  exercise  ahould  be  memorized  and  sung  in  different  keys. 


Pi 


1~     *^ 


IF 


-XT 


1K 


-73- 


±=P   '   «n«  41 


"¥ 


* 


3T 


■*=& 


'-&. 


=fc 


^ 


Sharp  Four. 


:v.. 


7/2. 


ZSr 


Do,     re, 


I 


Jt 


I 


-& &- 


Z&l 


#z 


jBL 


Do. 


Sol,  fl,    sol, 


fi>      O 


*  Syncopation  is  illustrated  and  explained  on  pages  94  and  278. 

Note.— A  study  of  key  relationship  and  chromatic  tones,  as  shown  on  pages  84  and 
85,  will  be  helprul  in  establishing  the  idea  of  modulation.— The  difference  between 
*harp  four  and  a  chromatic  passing  tone  should  be  made  clear  to  the  pupil. 


12 


The  Way  for  Billy  and  Me. 


P 


James  Hogg. 

Moderate. 


L.  Gruenbergef. 


± 


N-fK- 


*=t 


1.  Where  the  pools  are  bright  and    deep,  Where  the  gray  trout  lies      a   -   sleep, 

2.  Where  the  black-bird  sings  the     latest.  Where  the  hawthorn  blooms  the  sweetest. 


Up     the    riv-  er    and  o'er    the     lea,     That's  the  way    for     Bil  -  ly  and    me. 
Where  the    nest  -  lings  chirp  and    flee,    That's  the  way    for     Bil  -  ly  and    me. 


n 

cresc. 

-#-^— *- 

• 

^ 

r 

i»\     r 

-m— »     * 

i — * — ?— 

-4* 

— h * — 

l 

0 

1 

-^-fa — 

■tr-^ ' 

L- /— 

0 0 

L  • — &- 

— V— 

y 

-0 

-*— tf2 — ' 

3.  Where  the  mowers  mow  the  cleanest,  Where  the  hay  lies  thick  and  greenest, There  to 


*B 


£>— £■ 


-y—y 


m 


s=# 


i-1    iL  ' ^ r* £ — CTTt 


fr=?   '   L[— 


trace  the  homeward  bee,That's  the  way  for  Billy  and  me, That's  the  way  for  Billy  and  me. 


Studies. 


ff»— 1-» *~§S     I*       t-^U     \*       0-0— \-0- 


II. 


EEEfct: 


W: 


rr 


g^pl^ 


:^z:  _, 


*-#■ 


gt= 


i 


1 


pU-JI^IJJI^Jj^l«JM  IJj 


^=tt 


^ "jtt 


Six-eight  Time. 


13 


By  Contrast. 

Six-eight  time  is  a  compound  of  double  and  triple  time  with  six  eighth-notes  (or 
their  equivalent)  to  each  measure.  If  we  count  six  to  a  measure  Avith  a  strong  and 
medium  accent  on  one  and  four  respectively,  an  outer  double  and  inner  triple  move- 
ment will  be  recognized. 

This  idea  is  shown  in  the  following  exercise.  Let  the  quarter  notes  in  b  coincide 
with  the  accented  notes  in  a. 


I.  a 


-  -A— i— -*—*--*  -K--*-* 


S^eB 


II 


3E 


Ed: 


3 


The  same  idea  is  shown  in  Exercise  II. 
II. 


i _— *       * 


4=3 


=  =± 


14 


The  Pleasures  of  the  Country. 


I 


Tr.  from  the  German, 
Allegro. 


Joseph  Haydn. 


0     i    0    0     I 


£=£ 


it±. 


-*—y 


-#— V- 


1.  In   tr»th   I    can  -  not  meas    -    ure    The  heart-felt  joy  and  pleas 

2.  I'll  laugh  at  care  and  sor     -     row    So     long  as  each    to  -  mor 


Allegro. 


ure  Which 
row    But 


P 


3E=jr 


■4     *     f~ 


^ 


1  *     7 


*t 


ev  -  'ry  morning    brings;      Each  day  my  glad  heart  sings, 
proves  a   joy  -  ous  friend     Whose  hours  I    love    to  spend. 


-^T 


»  '    '^J =-^ s-m — y 


J<    «    f     J    ^- 


H^ 


* 


«« 


TTTT 


®b 


f=f 


^ 


»—-?-» — 3- 


$ 


& 


S: 


Is==jT£= 


*=*: 


*    » 


-J     u- 


The  brook's  most  heart-  y  greet  -  ing,The  brook's  most  heart-y  greet  -  ing  Is 
Sweet  flow  -  ers  near  me  grow  -  ing,Sweet  flow  -  ers  near  me  grow  -  ing, Their 


M 


T— f  "C 


3ZZJC 


*± 


^L£- 


^ 


£  -7 


±"4= £-#- 


3=5: 


5-  — «     7- 


-7 — 5 


i: 


"The  Pleasures  Country. 


15 


m 


SE 


■*=£ 


-azjt 


St 


mine  at  ev  -'ry  meet-ing,  As    in      the  glade  she  hides,       Or    from  her  shel  -  ter 
wond'rous  beauty  show-ing,Each  morn-ingseeni  to    say,       "'Tis   sweet  to  live    to- 

jK  ,   I— v  1 


m 


*= 


=ET 


^S 


t     v  i 


=}=*= 


-?-£-*- 


^S 


MX 


t=t± 


glides,     Or  from  her  shelter  glides, 
day,       'Tis  sweet  to  live  to-day. " 


-#-+- 


3P>£: 


+■■*-. 


4— bat ^^""d 


jiUSt- 


7LI^# 


i=±fi^ 


5fc 


£  £*     £ 


gg      *= 


®fc 


-*-*-*- 


i 


iF** 


1  Allegro. 


We  Merry  Minstrels. 


ROUND. 


H.  Parcel!. 


e  merry  minstrels  soft  music  en  -  joy,  For  mu-sic  doth  hatred  and  malice  destroy. 


I      I      I 


i f- 


£ 


■*—*- 


We  sing  so  blithely,  we  drive  a-way  care,  And  with  our  soft  harmony  banish  despair. 


*~M — ■ 


2t: 


=F~  ~ 


Then  hail!  sweet  science,  bill,  hail!  heav'nly  sound,  No  pleasure  like  ai'u>»; 


iT 


d> 


16 


The  Key  of  G  Major. 


Signature —   FZr"        one 
sharp,  Fjj.    Keynote — G,  on  the  second  line. 

Triads  of  G  Major. 


4e 


.^UA*m=±i 


-S* 5 


2± 


3; 


m 


fP^^:|5E^^^:PEj 


&—T&-T- 


ry     I  eg, u>     1  — n 


K)       ^ 


I. 


Studies. 


_ffi , a. 


*=3l 


^ 


2T 


JZ1 


lit 


r-tiL 


& 


JSZ 


-g ^ 


-^g—  — ^ 


-jy 


*        #       "= 


■2T 


•^* 


II. 


nfrf rf 


rfifc 


^^ 


^t 


T 


r 


rrfr 


in. 


J+i  ^,1  J  J  J 1  j-J-U  J  J  JiJ_    1 


*i      1 


■a — * f—f—  -*■ 


— .- 


^pp^lpp 


The  Key  of  E  Minor,  the  Relative  Minor  of  G.  17 

The  Minor  Scale,  Melodic  Form. 


ffi^Z-— La     6 

Si    $5 


La     0 


La     6 


La     tr 


The  Major  Scale. 


The  Minor  Scale,  Harmonic  Form. 


i!>g         (3- 


1 


& <22- 


ZZZdi!* 


g        ^ 


-,©> <2- 


tS? <2_ 


Triads  of  E  Minor. 


fe 


ftSTt 


^z:i4=^3 


=^=^ 


^=±^W- 


r=fe 


G^ 


75t 


L^- 


(S?-5- 


fe^ 


:?£ 


■ig-r 


^-v- 


-P- 


•6^r- 


:s± 


l£± 


z?z 


■&-1T 


Studtes  in  E  Minor* 


1 


r<5>- 


:zz: 


i 


4: 


I 


W- 


± 


-r~*- 


&      rJ 


"-%*- 


U. 


& 


s>  — & 


#* 


i 


i      1    il 

-1 — g) — -s*— ^ 


^^ 


-*— #- 


& 


-y — ta 


22 


^    I    g* 


♦»• 


III. 


1ST 


1 


^^^^^^^f^mu^j^iiyi^ 


Iny  Mercies,  Lord. 

CANON. 


Anon. 
Allegro. 


Tallin 


m 


iei 


t  * 


4     r 


•      a      • 


mf 
Thy  mercies,Lord,shall  be    my  song,  My  song   on    Thee  shall  ev  -  er  dwell,  To 

f 


J    JU    J 


BE 


•    * 


mf 


Thy  mer  -  cies,  Lord,  shall  be  my  song,  My  song  on  Thee  shall 


tM  .    i  J 


i 


SES 


¥ 


f     3    «— ^ 


■s     * 


* — *- 


#-*-• 


*    * 


a  -  ges  yet  uu  orn  my  tongue  Thy  nev-er  f  ail-ing  mer-cies  tell. 


I    ill  J  J 


\ 


*      ' 


0      •      •- 


0  0 


1 r 


tz 


■*— >-+ 


ev  •  er  dwell,  To  a  -  ges  yet  un-born  my  tongue  Thy  never  f ail-ing  mercies  tell. 

Studies. 


I. 


i 


fc 


i  j  m  *  ,\r  g_ 


Uhlr  frUhM 


U  1     l 


WZ  '*      4    1  -JBZ 


4  & 


mj 


J    J    l|  J    !   J    J  J     |    i! 


4-  <g     j 


*     4    * 


*     4    Jlz 


p    -    i-«imfrirr»irri7i^HJUjui 

cresc.  cr«»c.  ^ 

|ftjJ^lJj'U 


£ 


=#=i?=  r*  •    SF-     J    * 


-* dl&    4 


^P^ 


II. 


«»)J|4    J 


g~  ^        < 


^T 


^T^ftl 


:F 


<? #- 


^ 


T* #■ 


u 


Wm.  Allingham. 
Andante. 


Spirit  of  the  Summer-Time.  19 

Old  Irish  Folksong:. 


=p! 


±3 


I 


l 


,    (      0       spir  -  it    sweet  of  sum    -    mer  -  time.  |  ™           ,  .         .         , 

L  \  Bring  back  the   ros  -  es  to             the  dells!  f  The  8WaMow   from  her 

„    (  Bring  back  the  sing  -  ing,  bring          the  scent  j  „,. ,    .                         __ 

*\     Of    mea  -  dow  lands  at  dew      «      j  prime;  \  0h!  brm^    a  * gam    my 


1 


fe 


ff^f 


tw/" 


■» — *- 


i: 


_L- 


^ 


45 


W* 


«i — « — 

dis      -      tant    clime,    The    hon  -  ey  -  bee       from       drow     •    sy        cells, 
heart's        con  -  tent,      Thou    spir  -  it    sweet      of         sum     -     mer  -   time. 


PI 


7    I     S  I_cvj_i 

*      ♦ #   •       -#■  -*•  -#■    -#• 


Studies. 


P 


£U 


ff 


^Et 


rt-g 


r 


tfr 


g 


i 


S 


Theme  based  on  a  German  ah-. 


v1— f — T — i — r 


ii. 


fc 


fS=(a 


^=t 


*    * 


-# # — v 


* — ' r — a — ^ 1 ' 


-* — *- 


i  n  ji  j  is 


^ 


*5=x 


mm 


i 


;  *   * 


rj- 


3= 


fc^ 


SEES 

^ #_ 


-rjwj^u  n  m* 


20 


The  Four  Seasons. 


■  Moderate. 


Frederic  Clay. 


l±. 


•—- 


Moderate 


1.  Birds  are  in  the  woodland, birds  are  on  the  tree; 

2.  Fruits  are  ripe  in  Autumn, leaves  are  sere  and  red; 

3.  Thus,as  years  roll  on  war  d,mer-ri-ly  we  sing, 


fc 


— -+-«-#-j(-#--rr-t 1 i — 0-m h-*T-  -• 1 — a 1 — * 

0   0  -\ « l-*K«| 1 0~i ' 0      T <—0 ' m 1 


m 


=& 


•^ 


-#—*- 


-#  •  • 


-*-»-?- 


4=* 


3=t 


«= 


rrrrn 


tr 


S 


0= 


-? 


Mer-ry  Spring  is  coming,  ope  the  pane  and  see; 

Then  we  glean  the  cornfields, thanking  God  for  bread; 

Thank-f ul  for  the  blessings  all  the  seasons  bring, 


Then  come  sportive  breezes, 
Then  at  last  comes  Winter, 
Thus,  as  years  roll  onward, 


:i 


:| 


w 


t    i    m 

s 


-r     r 


m 


W*r 


W 


i=^ 


fields  with  flow'rs  are  gay, 
fields  are  cold  and  drear, 
mer-ri-ly  we     siug, 


P3     i      J— 4: 
=flj= r 


In  the  woods  we're  singing  thro'  the  Summer  day, 
Then  there's  happy  Christmastime  of  joy  and  cheer, 
Thank-ful  for  the  bless-ings    all  the  seasons  bring, 


"■ +~ 


JL 


J. 


n$ 


m 


■k=Tt=k 


f=F 


The  Four  Seasons. 


21 


ritard. 


1 


J— r 


-* 0- 


?— *-»-«L-J— fc 


^    1        1        L^=2 


In  the  woods  we're  singing  thro'  the  Summer  day. 
Then  there's  happy  Christmastime  of  joy  and  cheer. 
Thankful  for  the  blessings  all  the  seasons  bring. 


fc±=b 


5 


£ 


4-4- 


:*? 


^3 


-*  4  v r  *— *- 


H — I — !-#- 1— I — (-■!-*-*-• — 'tt-i 1 — 0-0- 

0 — \-0 H#-* — 1 — H*     I  0%0 1 J-j ^- 


ritard.  a  tempo     mf 


GHEj 


1 »— #5 W- 


m 


-0 0 m  m  0 


r=?^= 


T~t 


1 1- 


Studfcs. 


4— I \-0 — J— I — 0—>r 


IEE?EE 


-• s- 


S3SgE=fef 


■#——#- 


.4  _| — s. 1 0. 


-1 #- 


X=^I 


>-»— — L-J — « — - 


4^ 


e 


-0——g- 


±3=±±Z± 


-0 0-0 19- 


_, .r 


il-^-^—^Erte- 


+3 #— ft 


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^^ 


0-r-0 *- 


-U 


~f  •        0      f=Tl 


I 


^=t= 


^=^t= 


*-* — 1 — ' — # — •- 


^  n  '41 


11. 

Allegretto. 


4|j  <  r  i^^^±F 


:fi 


PM^P 


Qg 


*-*- 


3. 


1 


:» 


4==t 


-4— 


5^ 


-* — *— *- 


22 


Tm  Bea**nd-a-Half  Note 


— * K    -J 1- 

1 f2-    M             1 

— * 9 * * 

* N    -1 f— 

-» — ■ — m — «> — 

h     &    U  l|    d 

I — 1 N h-i  — 

1 -P H 0— 

'  '  J  4- 

-*— 

* K-l 

H — F~*1 

H-H 

-0 *--^ 0— 

H — H 

ir    b    b  If— J 

«L>     #    4- 

F3 ^Ti" 

=t= 

*        *        * 

1  J         j" 

bp=± 

; *--= #- 

i- !=#= 

-*- — -f- 

=4= 

*    •              # 

^-H 

The  Beat-and-a-Half  Note  Shown  by  Contrast. 


l. 


£e 


fe 


-# #-v 


»     FP  •      * 


S 


^=t; 


^ 


:#=*: 


-j * 


i— h£: 


-* — ■■* 


* — ^ 


* *— u* 


II. 


4  J  J  J .  J'l  J  J  ■-   Ir  g  f '  l U  j  r  ■  4J .  J  J  JUJ^Ml 


FT^=R 


SEE 


p^a 


jif  r  r  r  i*  •  *  *-^-t4g 


-*« « « j 


in. 


rftrr^ 


g 


*=-*  •  *  i!:?=y 


y^-g-7Tl 


f—f^^*—* 


a 


*  .  * 


*  .    s 


j      J      *    I'-     *    J    IJ      J      4    l«  ■     *    J    IJ    J      1    Ifci 


IV. 


fe 


1 


-#-#-#—» 


*  <*  »   ^  r   » 


U4— U 


F^ 


I 


B-4-*  1  J^?j3>  ' "  '  1 1        |    1  ""*"*"  *   I  *  "-TJ:  I  '  •  * r#   F# 


^=^^g — * 


4==^: 


-j-^-^-hg: 


i 


Sharp  Four. 


23 


m=?i 


JSl 


■i- 


■jBL 


&: 


M 


-cr 


Do 


* 


:<£: 


>g  ■. 


fc 


Do 

8* 


^ 


fc 


Sol,       fl,       sol. 

A  Song  of  Praise. 


Translated  from  the  German 

Andante. 


Gruenberger. 


4  J     J— .Q- 


1 l^i 


f  » 9 — aj — £ •■■■'       0 W-9 i-S-  -jl >-0 5l 


B 


mf 


"* — ^r 


^ 


*nr 


1.  Thou  hast   built  the    glo-rious  mountain,  Shaped  the  riv  -  er's  might-y     bed, 

2.  Thou  dost   lead   the  flight  of     swal-lows,  Thou  dost  show  the  stars  their  "way; 

3.  All     Thy   creat-ures,  Lord  most    ho   -  ly,  Praise  Thy  name  for  -  ev  -  er  -  more; 

m    mf 


m 


5 


3 


»       •       -I         4^    J     J         J       0      — f-       -I 


4_* t. 


fflt- 


J 


^s*^^^ 


B^ 


:* fc 


x- 


% 


II 


T" 


Kaised  the  hap  -  py  leap- ing  foun-tain,  Made  the  flee  -  cy  clouds  o'er-head. 
Sea  -  son  af  -  ter  sea  -  son  fol  -  lows;  Thou  didst  or  -  der  night  and  day. 
All  Thy  works,  both  high  and  low  -  ly,    Tell  Thy  pow'r,  Thy  love    a  -  dore. 


i 


£5 


m 


¥ 


•     •       •    *    4   I     I        1- 


-4 0 0 #" 


*-%±^* *- 


T» 


t 


A  Study. 


Si33 


f 


-J- -*- 


-0—- 


•4 


3 


--l^W 


£3 


sg 


*— * 


-»      *  ' — I — 0- 


-0—0- 


24 


In  April. 

EOUND  IN  THREE  PART*. 


Geibel. 
Allegretto. 


W.  V.  Gikhrut. 


■*■ 


O      dew  -  y,  sweet  spring  eve  -  ning,  Thou    art      to     me     so    dear,        The 


$ 


£z±: 


m 


0  . 


3HW-M 


* — *- 


i 


The  air     so    warm  and     balm  -  y  Breathes  like  the  breath  of    love,         Each 

£9 


P 


* 


m 


** — N- 


& 


I 


A     song  like  this  sweet    eve  -  ning,    I      fain  would  sing;  in       vain —    The 

]Last  time  only. 


-0    •    r     h^ 


»      *       40* 


^ 


» 


skies  with  clouds  are    cur-tained,  A    star    but  here  and    there.  there. 


P 


—! N- 


\Last  time  only. 


4:: 


-* h 


±± 


*— *- 


I 


breeze  a       vio  -  let      per-fume  "Wafts  up     to      me       a  -  bove. 

K * 


bove. 


]Last  time  only. 


\ 


-N P 


*  •  '  t-  ' 


-0-r- 


r 

tone    so    soft    and  gen  -  tie,       I      nev  -  er  shall      at  -  tain.  -  tain. 

A  Study. 


Do 


Flat  Seven. 

— *-&= 


J2Z 


sr 


~B «*" 


Sol 


_>7_ 


25 


~zr. 


1BL 


:sc 


Do  Te 

A  study  of  key  relationship  as  shown  on  page  84  "will  be  valuable  at  this  point. 


H 


Allegro. 


A  Study. 


:fc 


*—  0 — r- *-=- 


A.  C.  Kern. 

-*-i — N & N- 


w 


$ 


a 


PS- 


:& 


35 


H* 


se 


±=2: 


-^w 


fc^J 


Andante. 


Hush-a-by,  Baby. 


F.  L»  Lorraine.    Arranged. 


S 


:,: 


Hush    -    a 


by, 


-* — 
ba 


by, 


On 


the 


tree    -    top, 


*s 


i 


«: 


«: 


# 


v 

When 


the  wind   blows  the     era  -  die    will  rock,    When   the    bough    bends  the 


f 


^ 


Is     rj  tji 


-^-s- 


# 


I 


E*^ 


era 


m 


s        y        > 
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26 


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Six-eight  and  Two-four  Time  Contrasted. 


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27 


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Undcr  the  Greenwood  Tree. 

UNISON  SONG. 


Allegro. 
Solo. 


Old  English. 


■;  ■»- 


3? 


1.  In    sum  -  mer  time  when  flowers    do  spring  And  birds    sit     on      each 

2.  Our  mu  -  sic      is         a      lit    •    tie  pipe      That    can      bo   sweet  -  ly 

3.  On  meads  and  lawns    we    trip       like  fawns,  Like     fll  -  lies,  kids,   and 
Allegro. 


i§g 


H; 


-0—i —        — 0 

tree. . 
play;, 
lambs 


Let    lords       and  knights    say  what        they  will,  There's 
We     hire         old    Hal       from  Whit    -    sun  -  tide      Till 
We     have         no  twinge      to    make         us     cringe,  As 


an — *-*    r~Tj.      r-~\  \     -r^m 

«       0 — — 1-0-1 1~0-^~ j 


28 


Under  the  Greenwood  Tree. 


rA 


I 


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none  so  mer-ry  as  we. . . 
lat  -  ter  Lam  -  mas  Day., 
old        folks    nn    -    der    -    stand. 


There's  Will 

No     time 

When  day 


and  Moll,  and 
is  spent  with 
is  spent       with 


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sent, 

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camp, 
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we         all 

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how  they  do  skip  it,  ca- perand  trip  it,  Un-der  the  green-wood  tree! . . 
long  as  we  skip  it,  ca- perand  trip  it,  Un-der  the  green-wood  tree. . . 
frisk  it   and  skip       it,  ca  -  per  and  trip       it,  Un-der  the  green-wood  tree . . . 


HH^r^ 


i 


Chords. 


Under  the  Greenwood  Tree. 

^ — & — i — «i- 


29 


E 


#— P- 


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In         sum  -  mer   time  when  flowers  do     spring  And  birds    sit        on     each 


I 


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tree. 


Let     lords        and  knights  say  what      they      will,  There's 


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none  so  mer-ry    as      we....  none  so  rner-ry    as      we. 


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A  Study. 


The  Key  of  E  Minob. 


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30 


The  Key  of  D  Major. 


Signat 

sharps, 
space  below 

I. 


Keynote 
fourth 


Studies. 


A * K- 


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II 


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The  Key  of  B  Minor,  the  Relative  Minor  of  D.  3' 

The  Minor  Scale,  Melodic  Form,  Ascending  and  Descending. 


■»-• 


saNfe 


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The  Major  Scale. 


The  Minor  Scale,  Harmonic  Form. 


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32 


Flat  Seven — Key  of  D. 


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31 


IS! 


A  Study. 


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221 


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Sol do    ti    do  Sol    fi    eol 


A  Study. 


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sh 


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Coleridge. 

Alley ro  moderate. 


He  Prayeth  Best. 


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He    pray  -  eth    best,  who     lov  -  eth     best     All    things  both  great   and 


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small;  For  the  dear    God  who   lov  -  eth    m,    He  made  and    lov  •  eth    all. 


Studies. 


Edith  M.  Thomas. 

By  permission  of  Houghton,  Mifflin  <fe  Co. 

Allegretto. 

►fee 


A  Sky- Voyage 


mm 


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1.  Oh!  would  you    go       a-  sail  -  ing    Up  -  on     the      light,      light  breeze, 

2.  The  new  moon's  boat  we'll  bor -row,Made  all      of    moth  -  er  -  o'  -  pearl, 

3.  No    trou  -  ble  shall  o'er  -  take    us,     No  drear  -  y        sight        nor    sound; 

4.  A.    star    shall    be    our      pi  -    lot      A  -  cross  the      sea  of      light, 


A  -  bove    the  town    and  coun 

A      ros    -  y    cloud  from  sun   - 

The  bob  -  o  -  link  shall  greet 

And  some   en  -  chant  -  ed  is 


■  try,       A  -  bove    the  tall  -  est     trees? 

set      For    can  -  vas  we'll  un  -  furl. 

us      With  many     a  mer  -  ry      round, 

land  Shall    be      our  port    at      night. 


34 


Friendship. 


fM 


Translated  from  the  German. 

Andante. 


Mozart. 


Sop. 


m 


m 


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*    * 


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1.  Oh!     friend-ship       Is         a        won  -  drous 

2.  It       brings  new     Joy       to       days       of 


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treas-ure,  Of  earth's  good  gifts  this  is    the   best,  It  sweet-ens    life,  and  none  can 
gladness,  Those  hap-py  days  when  friend  meets  friend;  In  days  of  grief   it  tem  -  pers 


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meas  -  ure    How  those    pos    -    ses  -  sing     it        are    blest.     In        joy,     in 
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not    how    dark      the  day, 


And  chan  -  ges  not    with 
If  Friend-ship  cheers  us 


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chan  -  ging 
on        our 


T=^F 


years,  And  chan  -  ges     not    with  chan  •  ging  years, 
way,    If    Friend-ship  cheers  us    on  our  way. 


*. 


s    •    *    •  -F 


P  z  r  * — 0  »  3  I  «  4J  L  .    I  »  », — !   !   i   i   i   i  F — r-11 


*_^t_* — * — ^«— i^ — j^- 


fe= 


B 


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S*.  if: 


pgi 


Studies. 


I.    D  Majob. 


II.     D  Minor. 


il#gi(^i 


-t=F 


3zzg±: 


r^r 


ip— ♦- 


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^i^i^^p^^i^^ 


36 


Studies  in  Chromatics. 


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*  J-  -J-. — «!-L  »+*t«>-L  "ZX- 


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* 


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II. 


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IV. 


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After 

G.  Scherer. 

Andante. 


The  Chapel  in  the  Wood. 


37 


H.  M.  Schletterer. 


fe: 


55 


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est,  Grown  round    by      loft  -  y 

ven  With        fig  -  ures  rich    and 
ing       That    wood  -  land  path   I've 

el  Dwells    deep    and    ho  -   ly 


1.  In        still  -  est    deeps     of        for 

2.  Its  o   -  pen    por   -   tal,     car 

3.  In      many    an     hour       of      griev 

4.  With  -  in      the     an  -  cient  chap 


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trees,  A     chap  -  el  gray    and  old    -    en,      Light  fleck'd  with  sun  -  beams 

rare,  In  -  vites  the  pil  -  grim  wea    -    ry          Be  -  neath  its     roof      to 

trod,  To     rid      me     of       my       sor    -    row;    Sweet  hope      a  -  new     to 

calm,  And,while  I'm  low  -  ly  kneel  -  ing,    Comes  peace     a  -  bout    me 


^ 


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gold-en,  Stands  wrapp'd  in  qui  -  et  peace,Stands  wrapp'd  in  qui  -  et    peace, 
tar  -  ry       A-while      in      rest  and  pray'r,      A-whlle      in  rest    and  pray'r. 
bor  -  row,    My  heart    has  turn'd  to     God,      My  heart   has  turn'd  to     God. 
steal  -  ing,  Blest  com  -  fort,  sweet-est  balm,  Blest  com-fort,sweet-est  balm. 


£ 


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&7>7--<2< »~ 


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<$ — L(i? — ff— — ' &- 


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38 


The  Unequally  Divided  Beat. 


Note.    The  sixteenth  note  following  a  dotted  eighth  is  naturally  linked  to  the 
note  following. 

I. 


i 


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I 


b=4=zf: 


m 


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0   .      z*—*—. — *       J 


I. 


Studies. 


3 


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^ 


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w — r — r* — <r 


II. 


Andante. 


German. 


j-J-U 


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n — * 


¥         4 


P N- 


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«h 


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III. 


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English. 


-t ^-F fer 


1 


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4Jj  -'  j  j=^rp 


Autumn. 


39 


i 


Frederick  Manley. 
a  Moderato. 


C.  Gramm.    Arranged. 


r^*~^ 


1.  If        ev    •    er        in  a     shad  -  y 

2.  Step    qui   -   et   -   ly  in  -  to      the 

3.  A        gen  -  'rous      pi    -  per  for      his 

4.  Should  you      be      fast  e  -  nough   to 


hoi    -     low,  When  sum  -  met 

bush    -    es,  And  if       you 

blow  -   ing  Loads  all      the  ' 

fol     -     low  As  he     goes 


Moderato. 


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daylight  shorter  grows, 
watch  you'll  see  him  make 
barns  with  yellow  sheaves 

pip-ing  mer-ri  -  ly 


You  come    a-cross  a    jol  -  ly     fel    •    low  With 
A     flag -eo- let   of    riv-er     rush  •  es  Where- 
And  tells  the  birds  they  must  be  go    -    ing    To 
"You'll  see  him  blow.the  kind-ly    fel    •    low.  Rich 


1E£ 


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gold  -  en  leaves  a- bout    his  brows,  And  garmented    in    rus-set  clothes— 

on     he  blows  till  woodlands  wake — ■  And  of    its   joc-und  notes  par- take, 

southern  lands  where  sun-ny  eaves  Are  ly-ing  'mongst  the  summer  leaves, 

fruits  a  -  bout  the  fields  and    leas,  And  ap- pies  from  the  or-chard  trees. 


40 


The  Key  of  A  Major. 


te=fe=^~ 


Signature- 

oharps,  Fjf,  Cjf  and  GJ.    Keynote — A,  in  the  second 
space. 


Studies* 


I. 


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rfist 


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III. 


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The  Key  of  F  Sharp  Minor,  the  Relative  Minor  of  A*     4I 

The  Minor  Scale,  Melodic  Form,  Ascending  and  Descending. 

S3  »~  4t&»...  <g — L»     6|l*    6 (9    kg    j,^, 

g)    g^^V    ^-^     '-^       '  ■   .,  8ol    5 


L4     6 


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^ 


y.- 


The  Major  Scale. 


The  Minor  Scale,  Harmonic  Form. 


^ 


s>      a 


a     * 


zsl 


Studies. 


rftt 


f*.  I     -A IS        IK    I     ^  g     -  -4 


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42 


Studies. 


i. 


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English— Este. 


■ig  . 


-* *• 


-# — *- 


-* — *- 


-y — *- 


II. 


rffc* 


English— Bishop. 

* — !S 


fl 


Pfc 


I P N- 


22 


-» — * — •- 


?     #     r      *     m- 


FT"~4         ^   i      i    ■  i=F 


1  ^        !, 


-> — y — ^ — y — u^ 


Rfa* 


-N s- 


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II 


-gi        T     •    -+—5--Y 


^-±^~^ ► 


*      J     *     «zz:s2 


III. 


-* K 


& 


->, N PV- 


— N V 


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$ 


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sl    a    I  *    :Ez 


IV. 

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jrzzMi 


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i 


VI. 


CJ 


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:x*z>- 


II 


The  Hardy  Norseman, 


43 


u 


Risotuto.  f 


Norse  National  Song. 


■m= 


*--*—.— j*< 


y-*- 


to: 


-V-n 


— -i \—i P* .    ^ C    .    M M     '    M J—; 1 * We 


n — 


1.  The  hardy  Norseman's  bouse  of  yore  Was  on  the  foaming  wave!  And  there  he  gather'd 

2.  Whattho'ourpow'rbe  weaker  now  Than  it  waswont  to  be,   When  boldly  forth  our 


Iiisoluto. 


„    U.   HISOIUIC 


^t 


es 


£S 


-# — L»  *  « — »  ;  * — '-#  !  8 — 1-I-S — L-y-    B — • • — u*#-* — -# — L«  !  • — •  !  > 


fe 


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bright  re-nown,  The  bravest  of  the  brave.  Oh!  ne'er  should  we  for-get  our  sires,  Wher- 
fathers  sail'd,  And  conquer'd  Nor-man-die!     We  still  may  sing  their  deeds  of  fame  In 


#*=? 


eg 


■5-fz 


& 


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fcfczt 


Tt=±* 


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feE 


-£— +- 


-*—+- 


7^1 


i 


ev  -  er  we  may  be;      They  bravely  won  a  gallant  name  And  rul'd the  stormy  sea. 
thrilling  har-mo-ny;      For  they  did  win  a  gallant  name  And  rul'd  the  stormy  sea. 


^ 


STt 


^r*-* 


1 


L-d 


-I 1 0-^-0 — #-^-# I r-r- 


S3E 


r 


44 


A  Study. 


fe 


Allegro. 


S N- 


•         ± 


-t-Z- 


ff  () 


-N V 


^ 


x=£z 


T-r 


*t-Hi^m?m 


-N N- 


«Z=St 


•  J  '  * 


f-*- 


^» 


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i 


fe 


-f— d-* 


3S5 


*^ 


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•*-tin 


5^ 


f — + 


j£3t 


Adapted  from  Gerald  Massay. 

Tempo  di  marcia. 


Battle  Song. 


E.  Hartmann. 


Sfe 


-tr- 


S£ 


4: 


1= 


** 


1.  Sit     stern       in     your     sad  -  dies,    grip    tight  -  er     each  blade!   We'll 

2.  Now  cheer      for      the      liv    -    ing,    now  cheer       for     the    dead;      Now 
Tempo  di  marcia. 


m 


?^e 


±± 


S8ft 


-0 . 


*:    ♦      * 


i 


is5^ 


-#-* 


charge  thro*  their      guns,        or      thro'     blood        we       shall   wade;       To  ■ 
cheer    for       that     deed         on       the        hill    -    side        all      red.       The 


#fci 


mz 


m 


~i — i- 


W=t 


-* 0 *  *  ' 


#=* 


& 


*^ 


Battle  Song;. 


45 


i 


Ht-pg- 


~V 


i 


^ 


day    win 
glo  -  ry 


a         glo    -     -     ry      that     nev    -    er     shall  fade,       To  - 
is       gath  -  er'd     for      our     dear      coun- try's  head,       The 


day      win 
glo    -    ry 


glo  -     ry        that 

gath-  er'd       for        our 


nev   -    er 


shall  fade. 


dear     coun  -  try's  head. 


# 


■j£=± 


-#—!- 


m 


w 


JUL 


mf 


P3 


Fed. 


Fed. 


Fed. 


* 


A  Study. 


00    '    -    +.JT*-'^    J..+ 


Nora  Perry. 

From  St.  Nicholas,  by  per.  of  The  Century  Co. 

Andantino. 


May. 


.-»«    '  * 


A.  Billetcr. 


^=7 


all      the    A  -  pril  wet?  The  wind  was  whist-ling  loud  and  high  A  roist'ring,roist'ring, 
wind,  and  cloud,  and  show'r.  And  thus  I  knew  the   love-ly  thing,  And  guessed,  and  guessed  her 
V 


-7T 

roist  -    'ring, 
guessed       her 


r    r    f    :  \^-f-i-H=\ 


wild  March  air,  While  A  -  pril  clouds  went  weeping  by,     As      if       in  sheer  de- 
name  straightway,  She  was  the  dar-ling    child   T>f  Spring,  This  lit  -  tie  maid  culled 
cresc.  f 


A 


-*-  ♦.  *- 


** 


f        cresc. 


#=g= 


~v — »: 


pSE 


May. 

ff  , 


47 


rit. 

-I — h-4- 


5 


:S=*i 


I 


-m—i — # 


5^5 


II 


spair;  While     A-pril  clouds  went  weeping  by,  As     if    in  sheer  de-spair. 

May;  She    was    the  dar-ling  child  of  Spring,  This  little  maid  called  May. 

f  cresc.  ff  rit.     Z==— 


E3 


0 r 


f^ 


gHg 


spair;  While  A-pril    clouds. . . .  went  weeping  by, 
May;  She  was  the     dar    -    -     ling  child  of  Spring, 


^^ 


Studies. 


A 


* 


i 


Mz 


\7ZL 


tl 


^Z£I 


« 


«=*=3 


g — r- 


-«— *- 


£Sfe 


I*" 


d     •  *--& 


±±Sz 


&z 


II. 

Si: 


.,4  llegretto. 


J.  F.  Reichardt. 


Hil)      4-- 


-N fS N ?V 


-*, * v 


-i p-q — ^ — jS — .u^ — g-i-i — ^=5 — S-L-«=a:  ;    j    -J 


M 


^m 


-fs >> N *- 


~K— A- 


f  ftcr 


— _ — i — |j — i — i — l—  -_i — i — j — i — i — I — p, — * — ^ — i- 


--* v- 


■m Ps — ■ 0 


*=*=&: 


^V- 1 ! 0 LJ 0 0 M 1 u» 0 1 1 — m ' 2> F 0 1 L«_i 


] 


III. 


u 


4-e- 


f$ 


-«7rTf -%-$%=%  &fter=f 


ft*; 


* 


5* 


I*'-  ^=^=^:*'-'; 


&Sf 


iq=f  ::qzzq=?-|HH — i. : Jl 


48 


The  Key  of  E  Major. 

The  Major  Scale  Contrasted  with  the  Chromatic  Scale. 


$=^w^^*T*TH 


i 


%  fr fe 

T  ^2  3 


T&=P^=\ 


7       8 


£= 


Signature —  Fjfci=f=  four  sharps,  Fjf,  Cjf,  G#,and  Djf.     Keynote — E,  on 
the  first  line  and  in  the  fourth  space. 

Triads  of  E  Major, 


m 


X 


ta=± 


p 


s 


33= 


g_iLU_jZL^L_£=Lf=izg 


J   -g-g        g-^ 


.a 


fSte 


=? 


3 


-* 5^ 


"5^"        ^7f     "**"       "25"     "JS*" 


Studies. 


llES^=S5 


3=J 


*s 


i-«£ 


r^gptrs 


*  •  *  ■r-'-'g-^'U    j.  4^rr  *    *  t'  J-     ^ 


The  Key  of  Cff  Minor,  the  Relative  Minor  of  E.        49 

The  Minor  Scale,  Harmonic  Form,  Contrasted  with  the  Chromatic  Scale. 


jp^^fl 


^ 


-r 


-&- 


3=^ 


m 


&=#^ 


s 


& 


m 


a' 


P 


la 


c*ft* 


1*— «— 

ti         do  re  mi        fa 

The  Minor  Scale,  Melodic  Form. 


si        la 


m 


*»=fe 


^       g~ 


fe^ 


3 


^=2Z= 


g       <g- 


Studies. 


I. 


wm 


^^^^^H±s^A^±ur  r  ir'M 


*s 


PjB 


li 


P^fe^f^f 


4: 


-l^-1- 


7^ 


II. 


*£ 


PS 


4it 


&■-;- 


7£ 


4l 


■t&— 


•*•. 


*»i  n  fi  fl 


&8 


^-.-- #- 


Moderate. 


r-2rv+—* 


^ffiS 


U-U-J± 


A  Melody. 


1 


Reissigcr, 


PP 


*— *- 


4& 


V- 


=t=*F 


->— N~ *— K 


i 1 N— s 


-+— 9 


-*—4 


->- 


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\ N — ►,- 


■y-*- 


-*— *- 


'  iflj2f-ff-f: 


1^3 


** /->--j — >-y 


v-v-v- 


A  Study. 


I: 4: 


^t^m^ 


^^ 


d  •  .s 


■*z  '& 


rt—zt 


i I 


S 


^njry" 


^,    *  *  p,» 


] 


so 


Studies. 


3 ?s \ >- 


it — I — s — ! — H — 
^^0 — J?-* — -Z-0. 


■0— 0— *- 


■fS      i  — V 


+-?-* 


f^=W- 


■ -'--' — i — i — *— I H,  '     i,  l.  I 


-* # « # 1 J- 

_I 1 1 M Z_ 


\ 


V    *     'J 


IT. 


UU H: 


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ss 


aa£*itffs 


pfctt=t 


^^te^^SS 


III. 


w= 


±:^g±f±=* 


*^=±^ 


■«>-— 


-* — » 


?z=s: 


e^^ 


^=^s 


, 


I 


IV. 

Sostenuto. 


m 


Old  Church  Tune. 


J.      I      I  — I-  -m      \      i =  -<$< — * — »-  -f — J — <s 

■=*— ^ 0 — 0-i-m — 0 — «S>— *-& 0 — #-L* — % — « 


^Tr* 


*S^ 


-*— #- 


3pE 


vT 


?■* 


-f-T-t 


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fc=fcgz±j=S 


g— g— 1£ 


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raW. 


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UtJL 


4 


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VI. 


:4t1± 


t*=J 


V.    \ 


..-v 

x 


V-+-+- 


>„"£*— I ,— | 


m 


+  r*-J?  *r    '4'*».  " 


>i         !     i       I  i  0-  •&         0 — <r-  -ri—. 1 1 — 


'  it 


The  Christmas  Rose. 


51 


Chat.  Mackay 
Andante. 


1.  I've  loved    thee  well,  I've  loved  thee  long,      And  gaz  -  ing      on       thy 

2.  The  kind   -   ly    word  that  falls    to  -  day,       May  bear     its    fruit      to- 
Andante. 


90S 


=t 


i 


4zJ=fc|=4 


^^ 


g@^ 


_,^_ 


_fS- 


n 


^   ^ 


beau-ty,        I      ask    my  heart  what  se-cret  charms  Makes  love  such  joy  -  ous 
mor-row;     The  false  are   of  -  ten  kind  in      joy;  The    true    a  -  lone,    in 


y 


,    !/•£■ 


im 


:/ 


£=•- 


^ 


-*— r 


=F?= 


du  -  ty.     My    heart  re-plies,    the    soul     of  truth*  The  hope  in      sad  -  ness 
sor-row.  And  though  we  blesa  the  flow'r    in   June,  And  all    its  charms  re- 


jifeS 


*BE 


=1 -J *=H=F:: 


fe 


The  Christmas  Rose. 


m 


& 


-~ 


=£ 


=t 


S2 


gP     3    <   ~  I  ^ 


spok-en,     The  smiles  of    light  in    dark  -  est  days,  The  con  -  stan  -  cy    un- 
mem-ber,  We've  dou  -  ble   bless-ings    for     the  rose  That  blos-soms  in    De- 


fc=t 


rail. 


l=* 


I 


-g~g- 


T 

ken. 
ber. 


bro      -        ken,      The        con  -  stan  -  cy 
cem       -       ber,    That       bios  -  soms      in 


i 


bro 
cem 


rail. 


-&-*■ — J 


1 


X+ 


A  Study. 


H H f- »- 


> 


^Ef 


-4 + 


+  •  -* 


«=*: 


5r?rfe«=I=F 


I 


-H-r-l 1  - 


-— * — ^ — 0 — ? 


ini 


•+  ■  ■*• 


-:•- 


^P 


-#-!-*• 


Old  English. 
A  llcyretto. 


A  Canon. 


Byrd. 


53 


-g>  i  a 


5 


i5_ 


E 


C     a      (£■ 


&    I    ^ 


"27" 


Hey    ho, to    the  greenwood  now       let    us     go,  Sing     heave     and 


-i-G> &- 


T&l 


£ 


32: 


&2: 


~ 


Hey 


ho. 


to    the  green    -     wood  now  let    us 


& 


-& &- 


+ 


Hey 


ho to    the 


i 


— —&- 


?     »     tf 


5?: 


32: 


ho. 


And  there  shall  we  find        both  buck 


and       doe,  Sing  heave 


-& 


»     0   \* 


s 


■--— £2- 


-*"        &< 


"icr 


go,  Sing  heave     and 


ht 


And  there  shall  we  find       both  buck 


=£2=^ 


green  -  wood  now  let     us  go,  Sing  heave       and 


ho, 


And 


•    P    f    ?=gg=:^=^=g 


-g>- 


and 


ho, 


The  hart  and  hind  and  the  little  pret    -    ty     roe,  Sing 


^ 


=t 


*    » 


^_ 


-KT 


'Cr 


and     doe,  Sing  heave     and 


ho, 


The  hart  and  hind  and  the 


-*-*-&- 


s> ^r 

there  shall  we  find        both  buck        and  doe,  Sing     heave"       and  ho, 


.- 


25: 


ll 


w 


-/SI 


&: 


^J*     * -*- 

heave     and  ho. 


Hey        ho, to  the  greenwood  now. 


I 


:#=zz: 


P 


•<g     /g 


r: 


>? 


and 


little  pret    -    ty    roe,  Sing    heave 


To. 


Hey 


m 


ho. 


^=qr 


=*=?£ 


^ 


3?: 


& 


at 


^ —    ■*• 

The  hart  and  hind  and  the  little  pret  *  ty  roe,  Sing  heave  and       ho. 


Suggestive  Studies. 


II. 

]\ 

^i 

r  *  Sky    ** 

— #—r 

— -* — S 

— H 

—15- 

V- 

K- 

-J^l 

"i "         r — i 

|fl)  *ff  y 

0 

— 0 1 

0 

*— 

— 0 — 

-0 

— *— 

=P= 

"^    •- 

1 .  -*  - 

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0 

-0- 

# — 

0-  . 


-#-^- 


i 


The  Coming  of  Spring. 


From  the  German, 

m  Moderato. 

Ufa  r*  J , .    =^ 


V.  A.  Mozart. 


"' 


^fc 


-Jv 


V2-± 


** 


^=#== 


1.  All    fresh,  and  bright, and  glow-ing,  In  spring-time  Na  -  ture    stands,  And 

2.  This  earth    a-dorned  with  beau-  ty  Its    Mak  -  er's     al   -    tar       is,  The 

3.  Sing  praise  to    Him,   my    spir-it,  To    God    who  gives    de  -  light,    Sing 
Moderato. 


k=*=*=*^ 


T+ 


. 


m 


-9-*- 


*t=t2=tt£= 


gen-tlo  winds  are  blowing  A  -  cross  re  -  viv-ing  lands;     From  out  their  buds  come 
op'ning  year  an  off- 'ring  Of    pure  de- light  supplies;        It     of-fers  up      the 
praise  to  Him, and  tell  thou  The  won-dersof  His  might;    From  earth  in  beau  -  ty 


£**-*—    =«p>: 


3=g^ 


:^H; 


6 


I1   t, .. 


-0 0 0 v, 


B 


The  Coming  of  Spring. 


55 


¥?3 


^=*=ftp 


■A s- 


-0-jr 


Is  '     '-3 


burst-ing,  The  ten-  der  leaflets  crowd,  The  woodlands  glad  are  ringing 
fra-grance  Of  vio-  lets  in  their  prime;  The  lark,  to  heav'n  up-soar-ing, 
cloth-ed,    From  star-enlightened  skies,       On  wings  of    ad  -  o  -  ra  -  tion 


With 
Out- 
Let 


^ 


'zr^=f=rl=£ 


& 


^=M^t±$ 


% 


,S       N 


# 


t=5s: 


^^^f- 


¥* 


•-i 


* *-* 


^■--1 V- 


*-^=#=^ 


-*-?-*- 


love-ly  songs  both  sweet  and  loud, 
pours      a  thank-ful  hymn, 

songs      of  praise  a  -  rise. 


1] 


£^  f  p    *~  •  T 


Studies. 


II. 

-Ft 

5=5b^= 

-r4*- 

m — 

~# — i 

f=p-^"5--« 

!      - 
0 

F^=fl 

-P— »-^ 

:)i_p— p— *    :£_ 

t« — r^ — f~ 

TIJ] 

K^fe^t 

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56 


i 


'•A 0 1 — I — ► 

^?—  0 1 0 M U^ 


f—*zrr 


The  Twice-Divided  Beat 

-#-*-#■  *  0    .   0   -|   J       ,^^^g3- 


^ezzJ^: 


i — f- 


-•  0^rr-  •- 


1 


==3 


fci 


zfc* 


-*  s  X- 


^5Q=t 


y-#— an 


1 


IV 


3TT=p: 


5=t3=S==fe 


j^_q  r  f  *-» 


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IS^II^ 


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, L#— #- 


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fey— I  I  '  I  rm-gT^EP-U-g^B  1  I      -^-=^g^=^rpq=: 


P-%T~ ZU 


* — #— *- 


VI. 


-* *- 


:$=£ 


-*— 


N N P v- 


EES 


Suggestive  Studies. 


57 


-« — m — of 1 # 1 1 — 0 1 1 *»- 

—j 1 — £ j — ' 1 — >i — « i 1         I     ' — h 


^T 


IIL 


g 


3P 


£—— ■«h-^ 


*  s  * 


From  the  German 
By  Rebecca  B.  Foresman. 

Moderate. 


The  Bird's  Farewell. 


Ltidwig  Liebe. 


1.  'Twas  au  -  tumn,    and      a  lit 

2.  I  glanced    a    -  bout    and      ev 


tlo     bird     Was    sing  -  ing,    his  sweet 
*ry  -  where      I       saw       the    har  -  vest 


?>e  -  fore        I      knew,   the     bird    had     flown,  And      I  was     in     the 


P 

— K- 


:> 


-fc- 


^ 


£ 


H 


song  I  heard;  I  feared  to 
fields  were  bare.  0  lit  -  tie 
fields   a  -   lone.     Al  -  though  the 


wove,     lest      he      should    fly;  I 

bird,      you    need       not       tell,  I 

bird        I       could      not       see,        His 


m 


-&-*>- 


P   s 


-0      „ 


m 


some  -  how      knew,  'twas 
know    your     song       is 
fare  -  well      song    came 


his 
your 
back 


good  -  bye. 

fare  -  well. 

to        me. 


Sing 
Ring 
Sing 


m 


on,  sweet 
on,  sweet 
on,    sweet 


bird, 
bird, 
bird. 


sing  on,     The        sum 

sing  on,  Though  love 

sing        on,  Jieart 


Tu- 
rner 

though 


is  not 

sum    •  mer's 
sum    -  mers 


gone. 
gone. 
«oue. 


58 


The  Key  of  F  Major. 
& a- ffl 


Signature —   r(m^~  one 

flats,  Bi?,     Keynote — F — in  the  first  space 
and  on  the  fifth  line. 


Triads  of  F  Major. 


Studies. 


m 


German  Folksong, 


£ 


S3332 


a>— «- 


I 


f^  I   r 


*■  v  9 — « 1 1 1 1 1 * * — » m 1 ' ' — m 


T*=T 


m 


ii. 


gg 


m± 


TJSr 


I 


gijgj 


i  i  \. 


^t*i 


n 


0-WT0- 


35 


III. 

j»Efc 

»  f  0 

-M-*     m 

0-t  » 

b — » — 

_OI-I_W J K 

1 — F— 1 — 

_(2_» 

t~i — r~  n — h 

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/     **    1                        1 

1 

1           1 

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1     i     i 

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— 1 

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=v=?=H 

I,; 

n  i  ii 

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t5 

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* 

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p=t 


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,ry  •        -  :tP=  V-f— r—  '-<*——?— :^— X-H 


0] 


1 


y-y 


g» * 


4=Pi 


I 


•  ^-* 


The  Key  of  D  Minor,  the  Relative  Minor  of  F.  59 

The  Minor  Scale,  Melodic  Form,  Ascending  and  Descending. 


La     6 


Do     1 
Ti      7 


La     (i 


The  Major  Scale. 


The  Minor  Scale,  Harmonic  Form. 


^=1 


-& fiL. 


fj  & 


fj  & 


-us — &- 


u      ■»- 


I. 


Studies  in  D  Minor. 


a= 


~er 


E 


»■-!  »  -T^- 


■F^zmts^^m^m^^ 


-4-i-jgr 


1 


II. 


m 


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l=li 


-j J J L 

-• 1 * »- 


-IL^ « ^ 

-r 1 


:=£ 


60 


Sharp  Four. 


K,         O- 


i 


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JUL 


'fr3a=% 


2ZZI2Z 


is: 


*»      » 


Sor=-=~do,    ti,    do.  Sol,    fi,    sol. 


#-*-#- 


mm 


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m^^fi 


t±t=-$ 


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p^g-gqz_#jLi-^{-g}-_-g 


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& 


4. 


22: 


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4^—^ r 


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Flat  Seven — Key  of  F. 


Do  Sol 


Sol 


m- 


-72 <>- 


■rs—"- 


^*-zr^r-z 


■"      *,      „     -a     &- 


Do,    to,     la,      ti,     do. 


II 


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32: 


-V  -  S—  S       S        V      Nv   |    N       fr 


~9 9~ 


£ P P P fv 


-*      S      * — * — * 


Grabcn-Hoffmann. 

->, N N Ps k — 


\9—-9 0 0 j- 


-N N N v 


1 


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-0 0 0- 


S        4 


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2=?-=2=t 


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Music. 


Old  English. 

Moderato.     -=d  i 


61 


Louise  Reichardt. 


If^E 


1.  Far  from  hence     be     noi  -  sy    clam  -  or,     Pale   dis-gust      and   anx-ious 

2.  But  with  -  In         the  charm-ed      bos  -  om    None  but   soft         af  -  fee  -  tions 
Moderato 


E 


*=5±f 


fear;     Pin-ing  grief  and  wast-ing  an  -  guish  Nev-er  keep  their  vig-ils  here, 
play;     Ev-'ry  rud  -  er    giist  of     pas  -  sion,  Lulled  by  mu-sic,   dies  a  -  way. 


CS: 


— # — s — ^# 0 s — « 


i 


r-rj- 


Jes 


^ 


tfc 


n 


dOH. 


I      I      I 


i 


-I xc^ ^ _^=r^=n 


Tranquility. 

^■a_^.-.-^=-^— >— f—  £=ps 

7' 


A  Study 


;  * 


Si 


•  * 


C.  A.  Kern. 

--I 


S^ 


-#-i »« 1 1- a 0     {—» S X — hS-i  * 

-*-;      g       g       ^       1-    *r.   Ertzz   .  Efr_s      * 


;      .  -J     I 


f 


♦  ♦  .      ♦       *        tt        -rr 


5t 


62 


The  Meadow  is  a  Battlefield. 


Frank  Dempster  Sherman. 

Bj  permission  of  Houghton,  Mifflin  *  Co. 

A  lla  marcia. 


Eleanor  Smith. 


f\         "         l>  I 

1.  The  mead  -  ow    is       a      bat  -  tie-field  "Where  sum-mer's  ar  -  my  comes;  Each 

2.  'Tis    on    -  ly  when  the  breez  -  es  blow     A  -  cross  the  wood -y     hills     They 

3.  But  when    the  day    is    grow  -  ing  dim  They  gath  -  er     in  their  camps    And 
Alia  marcia. 


^     qir—9 — -j — ^ — * 

sol  -  dierwith  a  clo- ver  shield, The  hon  -  ey  -  bees  with  drums, 
shoul-der  arms  and  to  and  fro  March  in  their  full-dress  drills, 
sing      a  good  thanks-giv  -  ing  hymn  A  -  round  the    fire  -  fly    lamps. 


=5=S f— t^f=dk_ 

-0-  -0-  '  -0- 


s 


=*=F 


E 


^ 


■5-T 


•#■    -••    -•■    -♦■     *?       i  j     ■♦    ■•• 


£± 


Boom,  rat  -  ta!   they  march   and  pass   The    cap  -  taiu  tree  who  stands      Sa - 
Boom,  rat  -  ta!   they  wheel    in    line  And    wave  their  gleaming  spears;  "Charge!" 
Eat  -  tat  .  ta!     the      bu    -  gle  notes  "Good-night"  call  to     the      sky;         I 


_■       _.       ~^r 


**       + 


^F^F 


^ 


^E 


-^' 


The  Meadow  is  a  Battlefield. 


63 


ii 


* L 


I 


§ 


-#-— 


J: 


fi- 


lut  -  ing  with  a  blade  of  grass  And  giv  -  ing  them  com  -  mands. 
cries  the  cap  -  tain,  giv  -  ing  sign,  And  ev  -  'ry  sol  -  dier  cheers, 
hope   they    all     have       o   -  ver-coats      To     keep  them  warm    and      dry. 

S I , I ! 


±=t=t 


ffi 


r 


r 


fe 


Andantino. 

Folksong. 

-J fc  -f» — ^-p — i — J j    -     ^ 

E    _*    •  •  •    0 — J — I — t — *  •     *    i, — 

-K K- 


I 


-* — IT 


f    »     ^.  .     ft. 


-> &" 


=g=^=^= 


,,       ^J       •     IE 


Studies. 


£=r=# 


£^f=2= 


n=^ 


■* 12* i^*- 


^PS 


II. 


£3^ 


^if^i 


^ 


:=t 


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a 


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64 


Studies. 


Folksong. 


W 


-S  IV- 


4-       j      I — * #- 


E <~ 

4     7     • 


& 


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P^ 


^ 


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A  Study. 


Russian  Folksong. 


65 


Moderato. 


Summer  Days. 


Eleanor  Smith. 


1.  Sum  -  mer's  sun  -  ny   days  have  come;  Soft  and  sweet  the  wind    is  blow-ing, 

2.  Hear   how  sweet  the    riv  -  er     sings,     Ev  -  er     rip-pling,  ev  -  er  flow-  ing; 

3.  All      the  wood  is   filled  with  sound,  Sweet  the  per-fumed  air      is    riDg-ing, 


5^ 


4    d  . 


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^ 


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% 


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Bees  a  -  cross  the  mead-ows  hum,  Where  the  gold  -  en  flow'rs  are  grow-ing; 
Tell -ing  of  a  thousand  things,  Whence  it  comes  and  whith  -  er  go  -  ing; 
Up    and  down  and  round  and  round,  Blithesome  songs  the  birds    are  sing -ing. 


V      ♦       r 


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f  -0-  -#■ 

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f=nz 


Fields  and  trees  are  green  and  fair,  Sun-shine's  sleep  -  ing  ev  -  'ry-where. 
Sing-  ing  like  the  birds  and  bees  Of  the  won-  drous  world  it  sees. 
Oh,    the    hap  -  py     sum-mer  hours, — When  the  world's    a      world  of  flow'rs! 


£ 


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66 


The  Key  of  B  Flat  Major. 


i 


tag        <5£ 


z^zzzt 


zrz 


--% 


fc*r 


Signature —  rffoft—  two 

flats,  Bb  and  Et\     Keynote — BP,  in  the  second 
apace  below  and  on  the  third  line. 

Studies. 


.A  >V 


a    e 


1=* 


EEt 


•*— •- 


isl 


£f— fr4 


O: 


n-J    r-- 


-0—1—0- 


II. 


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j£ 


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J3. 


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1 •-?—%—  ; 


Allegretto. 
1 


te 


1     *  £jJ 

Round. 


Ferrari. 


^         d         d        *T 


When  Spring  re  -  turns  a  -  gain        and  her  flow'rs  once  more  ap-pear 
2 


-0        4   — 0- 0—>—0- 


Her    faith  -  ful    her -aid's  strain     thro'   the  echo-ing  groves  we   hear, 


m 


Cuck  -  oo, 


Cuck-oo, 


Cuck-oo. 


The  Key  of  G  Minor,  the  Relative  Minor  of  B  Flat.      67 

The    Minor  Scale,  Melodic  Form,  Ascending  and  Descending. 


^^dfe?^ 


—La     6 

-Si    J5 


La     6 


La     6 


The  Major  Scale. 


The  Minor  Scale,  Harmonic  Form. 


i 


5? 


-» <*" 


JZ1 


-v—*-^ 


•zr   •&• 


A  Study. 


~zr    •&• 


m 


w-±-*- 


•&E 


&=$* 


I 


22= 


*~t± 


tesssa 


4-^*      «Lg=fcg 


■*r»— r— * 


=£ 


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B 


Lento. 


A  Songf. 
(NIGHT.) 


Arr.  from  Attenhofer. 


fe 


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f  '-I.  U 


68 


r*: 


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Sharp  Four. 


] 


Allegro  moderate. 


Harder. 


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g   i,     H   affair    *«    E35E     5     bzdl 


ata 


p  U    *  * 


R— tr 


>    1^      ff    g  ■  ^       Pi? 


Chromatic  Scale. 


_g_ ^ ,5, p 


*= 


•sr     t:-r     •*• 

(Scale  names) 


Z? 


J 


-» \>r 


v      |wr 


-© — is 


"£♦ 


Chromatic  Studies. 


n 


^ 


fF^^P 


4  m*  4 


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M    j-g    '^— »      -      '^ 


Richtcr. 


p      p       j 


p       p 


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1 tfC , 


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£_  _*!#,_# — *_  13 -TZZ.ZZM*—  Z-ZZZZM       » 


Hinterding-Manley. 

Moderate. 
Winter.    . 


Winter  and  Spring. 

CANON. 


69 


Gramm. 


& 


l£f=t 


J— 0- 


-4: 


^ 


fat 


"I         am     the      rul    -  er        of      the    earth,  The    lord    of    might  -  y 
Winter. 


F* 


/': 


=t 


*—r 


1 


"I        am     the      rul  -  er        of        the  earth,  The 


8S 


£ 


£ 


My  power  is    death  to  wood-land  mirth,  To   gar  -  den,  field    and 


pow-er; 


:fc 


=t 


£EE 


-* — *- 


-* — *- 


*-„ — 3- 

lord  of  might-y    pow    er; 
j>  Spring. 


=f= 


My  power  is    death  to   wood -land  mirth,  To 


E 


SJE 


-*—0- 


*=*=l 


ta- 


ifc 


flow-er."  "I       am      the  lov  -  er       of      the  earth;  I    hold  death  in  my 

p  Spring. 


:± 


SSEE^? 


*= 


jHy 


gar  -  den,  field  and  flow  <■  er." 


-0 — 9 

"I      am    the    lov  -  er      of    the  earthj  J 


ft 


■+—*- 


W 


«=t=3 


m — 0. 


Sz=3 


?# — #- 


pow-er,  My     smile  is        life,  my  kiss       is  birth     To  gar-den,  field  and 


fcjz 


^-J_J      J. 

# y 


*-*: 


±t= 


:^ 


^ 


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hold  death  in  my    pow  -  er, 


v y 

My  smile  is        life,  my    kiss     is  birth       To 


^s 


s 


flow  -  er, 


:> 


BE 


To    gar     -    den,    to       gar  -  den,  field  and      flow 


gar  -  den,  field  and  flow  -  er, 


To       gar  -  den,  field  and     flow 


er.' 


70 


Archer's  Glee. 


Vivace 


^F=?^^^=t-?=T 


J.  Stafford  SomBU 

N 1 - 


What  shall  he  have  who  merits  most,  Who  numbers  and  best  shots  can  boast?  What 


±fc 


*       <L 


*=* 


¥= 


shall  he  have  "who     mer  -its  most,  Who  numbers  and  best  shots  can  boast?  Who 


m 


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V  '    ' 


$+*=*=* 


I     J  -I---      I  ,p 

twang'd  the   bow  with  stead  -  y    eye,  And  made  the  best  aim'd    ar  -  row  fly?  Who 


± 


*= 


^     ^     V 


twang'd  the       bow . 


r 


» • 


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twang'd  the    bow  withstead-y     eye,  And  made  the  best  aim'd   ar  -  row  fly? 


I 


-*— ♦ ^ 

twang'd   the   bow    with  stead  -  y     eye, 

fc5: 


I7 

V       o 


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1^ 


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Oh!  he  shall  have  the  bugle  horn, he  shall  have  the  bugle  horn,  Oh!  he  shall  have  the 


E2 


^ 


■y-y 


Archer's  Glee 


7! 


l 


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k^E 


U^. 


A    .     » h< 1 ^-"  ■    ' 


bu  -  gle  horn,  he  shall     have  the    bu  -  gle  horn,  the     horn,    the    horn,    the 


:H£ 


r* 


tt  •+ 


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gle      horn,    Oh!  he  shall  have  the  bu  -  gle  horn,  Oh!  he  shall   have  the 


bu 


Pi 


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fe 


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gle  horn, the  bu-glehorn, the  bu-glehorn, the  bu      -     gle 


horn. 


s=£ 


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rr>- 


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The  Bugle  Horn. 


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j3- 


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^=OT^ 


72 


Heine-Stevens. 

Allegro  agitato 


I  Lean  Against  the  Mast. 


-» L# 1 0 1  U    L» -H M 0 0- 


Mendelssohn* 


dim. 


ft**- 


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y=y_B_^ 


■#— - 


h»— 7— #- 


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1.  I    lean       a-gainst  the  mast,  and  Avatch 

2.  Fill  not,    fill  not      my  strain-ing  eyes, 


The  ores  -  ted  waves  re- 
Ye  tears,_  the  views  ob- 


$?=q=j=    |i     — r^^'j      i— ^^ t^^1- 

■■ »—i m—. —      '  0  . 0-i L#— ;■ ^  0—i 3-= -1 


tel 


j=jfeg=^:i 


i^zz^ 


£— ^-S— ■w- 

ced  -  ing;     Good-bye!  my  own  fair    na         -        tive  land,       Good 

scur  -  ing;      And  thou,  poor  heart,        wilt  break  with  grief,        And 


i  - — -i      ij    r       r 


*— *■ 


/?  (Si     tfofce 


-P-±- 


— ' s — I h— , 


bye!  my     own  fair  na      -      tive  land.  A  -  way    our  ship    is 

thou,       poor    heart,      wilt  break      with  grief,  These  fare-well  pangs  en- 


-mmm^m 


I  Lean  Against  the  Mast. 


73 


^=y 


5^* 


speed     -    ing,      A  -  way    our  ship    is  speed 
dur     -     ing,  These  fare-well  pangs  en  -  dur 


ing, 
ing, 


A  -  way    our 
And  thou,  poor 


&fc 


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—s~V 


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V  }    fj    t  t=R 


^£M: 


#  •      f- 


ship  is     speed        -       ing. 

heart,      wilt  break       with  ( OnwY.) 


grief, 


These  fare  -  well 


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gfeg 


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pangs       en  -  dur 


mg. 


•*■•»•        -ar 


74 


The  Key  of  E  Flat  Major. 


Signature —   r(nk^~t?    three 

flat8,Bk>E2  and  AJz.     Keynote— El?,  on  the  first  line 
and  in  the  fourth  space. 


Studies. 


I. 


&  I  w 


&n 


ZE 


^ 


.&  |g 


p£ga^b^ 


a 


I 


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II. 


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a: 


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33 


15^3 


3 


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III. 


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IV. 

Andante. 


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g 


zc 


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• — <©■ #- 


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The  Key  of  C  Minor,  the  Relative  Minor  of  E  Flat.      ?5 

The  Scale  of  C  Minor,  Melodic  Form,  Ascending  and  Descending. 


Lft     6 


La 
Sol    5 


ZH 


1 


Do     1 
Ti      7 


La     6 


The  Major  Scale. 


The  Minor  Scale,  Harmonic  Form. 


tefc 


1 


-J51 


St. 


n      & 


rj      & 


-» — «<- 


I. 


Studies. 


P 


& 


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5 


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II. 


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#- -P    i»Pi — i 1 — — H*S.*-f- -*-+— i — F- -P—B*1  -^— 


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Bfe 


S3 


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3 


Arpeggio  of  Triads  of  C  Minor. 
I.  Tonic  Triad.  Subdominant  Triad. 


m 


=t=f=P 


S 


£Hs 


A  Comparison. 
II.  Dominant  Triad.  Submediant  Triad. 


1 


HI 


— ^i  i 


■Hl-v 


m 


w 


gs 


^ 


76 


I 


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Studies. 


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III. 


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Edith  M.  Thomas. 

By  per.  of  Houghton,  Mifflin  &  Co 

Allegro 


Stay  So,  Sweet  Season. 


77 


Chr.  Seidel. 


wish     that    the   feet       of  the  dan    -  cing         child 

2.  Till  the  thrush    calls      twice,    and  the  cro      -  cus  looks  up 

3.  And   I  wish     that    the  May    with  her  fair        cool         face 

4.  But  the  bios     -    soms         a  -  round  her  un     -    heeded   fall; 


1 


And  in< 

Might 
She  lis  - 
X 


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p  k — \> 


Be* 


A    -    pril,  that   trips 
vites        the  bee 


to 
with 


lin 
tens, 


ger      a  -  while        in 


the 
her 
her 


wind 
hon     -    eyed 
na      -    tive 


wild    Could     be 
Sweet, 


she 


fol    -  lows    some 


far 


off 


cup. 
place 
call. 


Till    the 
Sweet, 


m 


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stayed  from 
sweet,  you've 
fruit      and 
sweet,  you've 
cresc. 


their  mo    -  tion,    and  rest  a     ■ 

no  rea    -   son       to  hur     -  ry 

the  thorn  -      tree  reach  her 

no  rea    -  son       to  hur    -  ry 


while 
way; 
down 
way; 


/' 


Till     the 
Stay 
A 
Stay 


Se 


:zFT 


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rit. 


t: 


^F?=^Bg 


show  -  'ry 
so,     sweet 

hand  -  ful'o'f 
so,      sweet 


ff 

sky       shall  wear      a 

Sea  -  son,     stay,     oh! 

blos-soms  to  weave  her   a 

Sea  -  son,     stay,     oh! 


smile, 
stayy 
crown, 
stay, 
rit. 


shall    wear  a         smile, 

oh!       stay,  oh!      stay, 

to       weave  her  a  crown, 

oh!       stay,  oh!      stay. 


78 


The  Old  Year. 


From  the  German. 

Moderate. 


J.  A.  P.  Schulz. 


-fi"- 


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mf     -+ 
1.  The     Old   Year's  knell     is       ring    -     ing     With    sad     and      sol  -  emn 

let      not    threat    of        sor     -     row     O'er -cloud     a     bright    to- 


hi— h 


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tone         Then,  brothers,    be     our    sing    -    ing     A        dirge   for     him  that's 
day,         With  God  we'll  leave  the    mor    -    row,    And    trust    in     Him     al  - 


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An  -  oth  -  er    ghost  is      ban   -    ish'd    To    join  the    dim  years 
While  heart-felt  songs  up  -  swell   -  ing      Of  mirth  and  peace  are 


M 


* 


*   .  tL 


The  Old  Year. 


79 


van 
tell 


IZ 


s- 


ish'd:      Of        joy       and       pain        it     brought   its      dole,'    And 
ing;        0  let         us       wish      the       com  -  ing     year      To 


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leaves   us      near  -  er         to         our 
joy      and    peace  may   bring       us 


goal, 
near, 


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0 


joy     and    pain      it 
let       us     wish     the 


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brought  its        dole,      And   leaves    us      near  -  er        to         our       goal, 
com  -  ing       year        To       joy      and   peace  may    bring      us        near. 


-£=& 


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A  Study. 


4 — #--«< J—j — i — t 


tea 


H h-l 1 1— + 


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ii  p— .<      i    <^  i  ■  ■    i  r  "■ — i-i 

M    J H 1 1-— +-J 1  -I ' 1 1 — I 

*    4    j H  -t ^ M    0    W    0  -j 1 1 1 1 -I 


The  Key  of  A  Flat  Major. 

The  Major  Scale  Contrasted  with  the  Chromatic  Scale* 


w* 


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87  6  5  43  21 


Signature—  ftm^2rE  f°ur  flatsi  B^»  El?»  A>,  an<*  D>.     Keynote— Ai',  in 

Studies* 


the  second  space. 
I. 


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The  Key  of  F  Minor,  the  Relative  Minor  of  A  Flat.  81 

The  Minor  Scale,  Harmonic  Form,  Contrasted  with  the  Chromatic  Scale. 


iteL 


4* 


f  "        tf-         *        1^        ~^=^ 


1 


3? 


*- 


f 


3-  bl 


The  Minor  Scale,  Melodic  Form. 


Kg 


=^^=g?g=^=g=^^_^_^^= 


vs — g- 


Triads  of  F  Minor. 


sfe 


^g-ift^ 


i«-s- 


gr 


2  <r*^ r 


2g 


-^*-F- 


a^^^agi 


Studies. 


I. 


§s&¥ 


F~P     gf 


2Z 


:a? 


p^^*a£^m^^£g^^ 


II. 


a 


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tM-z»- 


1 


82 


A  Melody. 


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(FOR  SOPRANO  VOICES.) 

cresc. 

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If    *      :    l  f    *      \    \m    m      i    I  y   ' In — »- — i — i- — k — i — i — v-. — i — h— 

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Studies. 


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II. 


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Suggestive  Studies* 


F 1 1 ** H °* 1- 


Spring  Song. 


Heine. 
Andante,  dolce 

s  S 


tpsHj*^-1 


Gade. 


4— «- 


&-'     V      ♦ 


#=»= 


t=*- 


1.  Ten  -  der,  low,      a    dream  -  y  strain      In     my  heart    is  chi  -  ming; 

2.  Fly   thou  forth,  dear  song  of  spring,  O'er  green  hills  and  val  -  leys, 

3.  Fly   and    seek    her,  song  of  spring,  Till    the    rose-bud  meet  -  ing, 
Andante.                     — ™__^_— —  *»"*^ 


g^=?£ 


taH 


— L#. 


U    P 

Comes  and  goes  the    glad  re  -  train  While  sweet  "words  I'm  rhym 
Near    the  bank    of      vio  -  lets   sing  Where  the  south-wind  dal 
Tell    her    all      I      bade  thee    sing,    Give  her    tune-ful    greet 


mg. 
lies, 
ing. 


84 


Tetrachords. 


A  tetrachord  is  a  regular  succession  of  four  scale-tones.  The  major 
scale  is  composed  of  two  tetrachords,  the  tonic  and  the  dominant,  which  are 
exactly  alike  in  melody  except  that  the  latter  begins  with  the  tone  5  and 
completes  the  ascending  melody  of  the  scale. 

Tonic  tetrachord.      Dominant  tetrachord.     Dominant.  Tonic. 


$ 


—0 * «■ 

Related  Keys. 

The  following  diagrams  show  how  the  tonic  and  dominant  tetrachords 
are  the  basis  of  modulation  to  dominant  and  sub-dominant  keys. 

Sharp  Keys. 
Key  of  G.  Key  ofA. 


Key 


of  C 


Key 


of  D- 


Key  of  E. 


Flat  Keys, 

Key  of  p  Key  of  pj, 


Key  of  c. 


Sharp  Four. 


i 


I 


Do  Do  Sol    fl     sol 


Modulation  by  Sharps. 


.!    i    i    i  53^5 


5: 


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•    4 


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Flat  Seven. 


85 


JmSC 


g     fj 


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Do        Sol 


Sol    fa    ml  Do    to     la 


Modulation  by  Flats* 


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Chromatic  Passing  Tones. 

Chromatic  tones  that  do  not  disturb  the  key,  but  embellish  the  melody, 
are  called  Chromatic  Passing  Tones,  as  shown  in  the  following  studies : 

Allegro. 


fe^^^^^^^l!   I   I* 


I 


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m-^*v-4- 


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"•— # 


A  Study. 


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^  f  r  !»  [=^g^^-Nf-*-f=E^f=fgi^^J 


86 


^ 


Sir  H.Votton. 

Moderate 


A  Happy  Life 


Benedict. 


4=T 


» 


it^t 


3t 


i 


1.  How  hap-py  is   he  born  and  taught  That  serveth  not    an  -  oth  -  er's  will,  Whose 

2.  Who  envies  none  that  chance  doth  raise  Nor  vice,whonever    un  -  der-stood  How 
Moderato. 


A- 


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arm-our     is      his    hon -est  thought,  And  sim-ple  truth  his      utmost  skill!  who 
deep-est  wounds  are  giv'n  by  praise,  Nor  rules  of    state,  but  rules  of  good;  This 


I 


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mf 
hath  his  life  from  rumors  freed,  Whose  conscience  is  his  strong  re  •  treat,  Whoso 

man  is  freed  from  servile  bands  Of  hope  to  rise,  or  fear        to  fall;  Lord 

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state  can  neither  flatt'rers  feed.Nor  ru   •    in         make      op  -  pres  -  sora    great, 
of  himself,  tho' not  of  lands, And,hav-ing        uoth  -  ing,  yet,  hath     all. 


;- 


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4 


pJ=«a*=S=ti^=f§S 


2£ 


L^ 1 1 1 &_t y. 


l 
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5- 


The  Snow  Melts  Fast. 


87 


HoeJty. 

1.  The      snow melts  fast,  May    comes. 

2.  Who    can fore  -  tell    The    toll 

Allegro.     _ --      --^ 


W.  W.  Gilchrist. 

at    last, 
ing  bell 


e'frr 


shoots  each  spray  Forth  blossoms  gay,  The  war-blmg  bird      A-round     is    heard,  A- 
we  with  May   No  more  shall  play?  Canst  thou  fore-tell  The  com  -  ing  knell,  The 


0    . 


m 


Cot  le,  twine. . 
lie  -  joice, . . 

_  -p. 


^T— 0 


a  wreath,  And  on . . . 
re-joice,  So    spake. 


the  heath 
His  voice 


round  is    heard.           Come,  twine 
com-ing  knell?  Re-joice,. re-joice, 

-P 


x    x  U  . 

a  wreath,  Aud  on. 

So    spake. 


the  heath 
His  voice 


rtj 


The  dance pre-pare,    Ye  maid-ens    fair,  The  dance pre-pare,   Ye  maid- 
Who  gave  us    birth  For  joy     on  earth,  Who  gave    us  birth  For    joy 
cresc.  f 


ens    fair; 
on  earth; 


H— fl  H 


~& 


35 


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?m 


Dance      on  the 

En  -    joy  its 

JL 


t 


heath, 
prime. 


1 


m    •    d 


a  wreath,  Da 


=F 


Come,  twine      a  wreath,  Dance  on    the  heath, 
God    gives    us    time,     En  -  joy     its  prime, 


Dance    on    the 
En  -  joy     its 


I 


heath, 
prime. 

/7\ 


fl 


g^=?=? 


Suggestive  Studies. 


h — m  l  J   . — i — u 


:*==* 


-*~ ± 


*t^^^y-^^-'  ^'f^^ 


n. 


in. 


-j^^hUAfef  «|„J    I     I  !     1    M  i     !  hi  J  J 


*  j  * 


r^r^T^TT^ 


^ 


Good  Night. 


Taubert 


$ 


Andantino  con  moto. 


> f- 


t3I 


-it    7    x- 


p  I 

1.  "It    is    so  dark,  so  cold  the  wind,  No  oth  -  er     o  -  pen 

2.  Thebirdlings'nestiscold  at  night;  "O  mother!  come,  we 


Andantino  con  moto 


pp  legato 


m 


-K)-r 


X' 


is^fei 


W^l 


E3EJE 


door    I    find,  O  rosebud!  shelter    me an  hour."     "You're welcome,  beetle," 

per-ish  quite,  It    is    so  late,  you're  lost. .    .     we  fear."  She  flies  and  sings,  "See, 


BE 


*L 


-    *^  -^*   *?'  F? *? 


T3 


at 


'&-' 


-  m- 


Good  Night. 


89 


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theflow'r,"Come,restwith-in      my    blossomy  bow'r,     Best  in   mybow'r, 
am  here,  Bring  food  and  -warmth  to     ba   -    bies  dear,      See,   I    am  here, 


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rest    in  mybow'r,"     Un-to   the    bee -tie  says         the        flow'r. 
see,    I    am  here,    Bring  food  and  warmth  to  ba    -      bies        dear." 


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good  night,   good  night! 


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Goodnight! 


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Payne. 

Moderate 
dolce 


Home,  Sweet  Home. 

dim. 


Irish. 
cretc. 


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1.  'Mid  pleasures  and  pal  -    a  -  ces     tho'  we    may  roain,     Be    it      ev  -  er      so 

2.  An     ex  -  ile  from  home,  splendor  daz-zles     in    vain;      Oh!        give  me    my 

3.  How  sweet  'tis    to    sit  'neath  a       fond  fa-ther's  smile,  And  the  cares  of       a 

4.  To    thee  I'll    re-turn,     o  -  ver    bur-den'd  with  care;    The    heart's  dear-eat 
dolce  cresc.  dim.  cresc. 


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hum  -  ble,  there's  no    place  like  home.  A  charm  from  the    skies  seems  to 

low  -    ly  thatch'd  cot-tage      a  -  gain;  The  birds  sing-ing       gai    -  ly,    that 

moth  -  er       to    soothe  and    be  -  guile!  Let  oth  -  ers    de  -  light   'mid  new 

sol  -   ace   will    smile    on     me    there;  No  more  from  that     cot  -   tage     a- 
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hal-low  us  there,  Which,    seek  thro'  the  world,  is    not      met  with  elsewhere; 
come  at  my   call,  Give  me  them  with  the  peace  of  mind    dear-er  than  all. 
pleasures  to    roam,      But        give  me,    oh!  give  me    the    pleasures   of  home, 
gain  will  I    roam,- — .Be    it      ev  -  er       so    hum-ble,  there's  no  place  like  home. 

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Home,  home,  sweet,  sweet,  home!  There'sno  placelike  home,  There's  no  place  like  home. 
cresc. 


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Moderate. 

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Allegro. 


C.  Schulz. 


L^ 72) '  '  •      %*—* 4 4~. *— *— *— *— * *— — #         +        ^ 


1 1 — — i 0 1 1 _ — _>  —    _ 


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A  Suggestive  Study. 


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'    J.  J.  '  -1 


Andante, 
do  Ice 


Sleep,  Baby,  Sleep. 

CANON. 


Johannes  Brahms. 


:& 


f      7 


^3E 


1.  Sleep,        ba    -    by,      sleep,       Thy        fa  -    ther    minds      his    sheep;     While 

2.  Sleep,        ba    -    by,      sleep,       The    skies      are       full         of     sheep;        The 
2  p  dolce 


P 


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1.  Sleep, 

2.  Sleep, 


ba    -    by,      sleep,       Thy 
ba     -    by,      sleep,       The 


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moth  -  er    rocks    the  slum  -  ber    tree,      To      shake  down  pret  -  ty 

lit  —  tie    stars    are  lamb  -  kins  white,  The    shep  -  herd  moon  keeps 


m 


ther     minds   his      sheep; 
are        full      of      sheep, 


While  moth  -  er    rocks      the 
The      lit    -    tie    stars      are 


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Sleep, 


ba    -    by,      sleep, 
ba   -    by,      sleep, 


Thy       fa  -   ther    minds    his 
The    skies     are        full       of 


L 


Sleep,  Baby,  Sleep. 


93 


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dreams     to     thee, 

My 

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•watch      all    night, 

My 

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slum  -  ber  -  tree, 

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shake 

down    pret  -  ty    dreams 

to 

thee, 

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all 

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sheep; 
sheep, 


While    moth    .   er       rocks    the      slum  -  ber  -  tree,    To 
The         lit    -    tie       stars    are      lamb  -  kins    white,  The 


shake      down    pret  -   ty      dreams    to      thee,     My         ba 
shep    -    herd    moon  keeps    watch    all    night,   My         ba 


by, 
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sleep! 
sleep! 


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The        skies      are 


minds 
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of 


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sleep! 


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The 


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Hey  Baloo. 

UNISON  SONG. 


95 


Burns. 
Dolce. 


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1.  Hey,  Ba  -  loo,    my  sweet  wee  Don  -  aid,  Pic-ture  of        the  great  Clan  Ron-aid. 

2.  Bide,  my  bon  -  ny    ba  -  by,  bide    thee  Till  thy  fa  -  ther  brave  can  guide  thee; 

3.  Well  the  Lowland  churls  thouTt  har-ry,  But  a  -  mong  them  thou'ltnot  tar-ry; 


Dolce. 


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Well  doth  know  our    gal  -  lant  Chief       Whose  is    my  young  High-land  Chief, 
Thou  shalt  range  the  coun  -  try  through      And  bring  home  a     Car  -  lisle  coo', 
When  the   days  of      glo    -    ry   come  Ne'er  for  -  get    thy  High-land  home, 


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"Whose  is  my  young  High-land  Chief. 
And  bring  heme  a  Car  -  lisle  coo'. 
Ne'er  for -get     thy    High-land  home. 


I 


-a-T^TT^f 


96 


Hopkinson. 
Alia  tnarcia 


Hail,  Columbia! 


Phyla. 


f  —  I 

1.  Hail!  Co-luin  -  bia,  hap  -  py    land,  Hail'  ye   he-roes, heav'n-born band, 

2.  Im-mor  -  tal  pa-triots,  rise  once  more,    De-fend  your  rights,  defend  your  shore, 

3.  Sound,  sound  the  trump  of   fame;    Let  our  own  Washington's  great  name 

4.  Ke-hold!  the  chief  who  now  commands,  Once  more,to  serve  his  country,  stands, 


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Who  fought  and  bled  in 
Let  no    rude  foe  with 

King  thro'  the  world  with 
The  rock  on  which  the 


rt 


free-dom's  cause,  Who  fought  and  bled  in  freedom's  cause, 
im-pious  hand,  Let  no  rude  foe  with  im  -  pious  hand 
loud  applause,  King  thro'  the  world  with  loud  applause; 

storm  will  beat,  The  rock    on  which  the  storm  will  beat' 


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And,when  the  storm  of     war  was  gone,  En  -  joy'd  the  peace  your  val  -  or    won. 
In-vade  the  shrine  where  sa-cred  lies  Of    toil     and  blood  the  well-earn'd  prize. 
Let     ev  -  'ry  clime,  to     free-dom  dear,       Lis  -  ten    with     a     joy  -  ful    ear. 
But,  sound  in     vir  -  tue,  firm  and  true,  His  hopes  are  fix'd    on  heav'n  and  you. 


1=111 

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Let     in  -  de-pendence      be     our  boast,  Ev  -  er   mind-  ful  what  it  cost, 

While  off-'ring  peace  sin  -  cere  and  just,  In  heav'n  we  place  a  man- ly  trust, 
With  e  -  qual  skill,with  God-like pow'r  He  gov-erns  in  the  fear- ful  hour 
When  hope  was  sink-ing      in      dis-may,When  gloonasobscur'd  Oo-luni-bia's  day, 


f^ 


Hail,  Columbia! 


97 


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That 
Of 
His 


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Ev  -  er  grate-ful      for     the  prize;         Let    its      al  -  tar  reach  the  skies, 
truth  and  jus- tice     will    pre-vail,    And  ev  - 'ry  scheme  of   bond-age  fail, 
hor  -  rid  war,    or    guides  with  ease  The  hap- pier  times  of     hon-  est  peace, 
stead-y  mind,  from  chang-es  free,     Kesolv'd  on   death  or      lib  -  er  -  ty. 


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let     us     be, 


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Firm,   u  -  nit  -  ed 


Rally- ing     round  our       lib-  er  -  ty, 


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As       a     band   of     broth -ers  join'd,     Peace  and  saf e  -  ty     we    shall  find. 


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All  Nature  Smiles. 

ROUND. 


Moderate. 
1     mf 


Arnold. 


# 


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J-q — W  d  0-*- 


fc*zb* 


Ml  na    -    ture  smiles  to  greet  fair  spring,  And  flow'rs  their  scented  tribute  bring; 
2     m/" 


The  hap   -    py  birds  from  bloom-ing  spray  Their  welcome  sing  with  mer-ry   lay, 


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fith  merry,merry  lay , with  merry,merry  lay,  Their  welcome  sing  with  merry,merry  lay. 


9S 


Lullaby. 


F.  Hffler. 


Andante. 


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Moderato. 
do  Ice 


Swinging  the  Hammock. 


K.  v.  Winterfeid. 


P 

1.  Light 

2.  Light 
Moderato. 


ly    swing        -      ing,  Swing-ing  and  sing    -    ing!       Flow'rs    in 
ly    swing        -      ing,  Swing-ing  and  sing    -    ing!       Sleep   -    y 


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sun 
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ny        mead 
the       now 


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Zeph 
And 


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I    swing 


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Swinging  the  Hammock. 


99 


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3 


to         and      fro,  Cuck  -  oo      sings     in        shad      -        ow, 

drow  -  sy       dear     Till       cuck  -    oo        in         his       bow         -         er 


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Sway'd  by     wil    -    low      branch-es     low.  Cuck    -     oo!  cuck    -    oo! 

Calls       no   more,       and       sleep      is     near.  Cuck     -     oo!  cuck    -    oo! 


oo!     cuck 
oo!     cuck 


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oo! 
oo! 


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1 


JOO 


The  Brooklet. 


Frederick  Manley. 
p  Andante. 


Grabeo-Hoffmaon* 


1.  Brooklet  thro' the  meadows  dancing,    Dimpling    so    fair    and  mer  -  ri  -  Iy, 

2.  Loft  -  y  hills  would  be  my  dwelling,   Mountains  that  man    has  nev  -  er  trod, 

3.  Oh!  to  wind  a-bout  the    shallows,  Kiss  -  ing  their  peb  -  bly,  gold  -  en  sand; 


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Play  -  ing  with    the  winds,  and    glan  -  cing,        Far  o'er     the      lea, 

Crags   that  tow'r    and  cloud  dis  -  pel  -  ling,  Reach  up    tow'rd  God; 

Speed -ing  swift  -  ly      like  the    swal  -  lows,  O'er  dis  -  tant    lands! 

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Koar-ing 

Sun, clouds 

Oft    cir-c 

now 
and] 
ling  t 

o  -  ver    mos  -  sy   falls,] 
nist  and  rain  and  snow,  A 
yith  the    rip-pies  light/ 

-» — 0     s 

klurm'ring  now 
^ouldleadmef 
rouchingthefl 

low  and    qui  -  et  -  ly, 
rom  the     fro  -  zen    sod 
ow'rs  with  gen  -  tie  hands, 

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r 

The  Brooklet. 


101 


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w. 


Dart- 
Thro' 
Bind 


ing  swift  as  when  wild  calls  Come  from  the  sea! 
wood-lands,  where  wild  flow'rs  blow,  Where  hem  -  locks  nod. 
•  ing      sun-beams,  swift    and       bright    Fast       in       gay    bands. 


S^EEEiEEf^ 


102 


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Wanderer's  Songjb 


i03 


Eichendorff. 
A  llegretto. 


Gade. 


St 


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1.  Thro' fields,  by  murmuring  beech. -es,  Now  singing,  now  still,  but  glad, 

2.  I   hear  the    ear    -    ly  voic   -  es       Of  sky- larks  that  soaring  sing, 

3.  Byzeph-yrs  gen  -    tly  driv    -en,    The  flee- cy,  soft  cloudlets  fly; 

A  llegretto. 


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breezy  heights,thro' reaches  Of  springy  grassy  sod,  Ere  yet  the  rose  of  dawning  Hath 
hap  -  py  heart  re-joic-es,My  answ'ringsongdothring.From  mountain  summits  gazing  O'er 
birds  and  clondsin  heav-en,  My  glad  tho'tsseek  the  sky.  The  lark  returns  from  soaring,  The 


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blotted  out  the    gray,      In  blossom-scented  morning  I  take  my  blithesome  way 
riv-er,  wood,  and  vale,        I      see  the  red  east  blazing,  Its  coming  lord  to  hail, 
va-pors  find  the    sod,       But  tho'ts  from  hearts  adoring  They  straight  ascend  to  God, 

— K=y  J         !    i  ~   ~  N 


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104 


Spring  Song. 


Transited  from  the  German. 
1st.  Soprano. 
Andantino. 


RlVogeL 


nPii-mzm^w. 


a;  h  h 


tist 


Birds  are  singing,flow'rs  are  blooming,  Spring's  bright  flags  are  all  unfurl'd. 
Joy  we'll  meet  in    ev  -  'ry  pathway,  She  doth  sing  with  ev  -  'ry  bird, 
2nd.  Soprano. 


w=^ 


» 


Andantino 


1.  Birds  are 

2.  Joy  we'll 


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Spring's        bright  flags         are    all,     are        all        un  -  furl'd. 
She  doth    sing        with  ev  -  'ry,        ev    -  'ry      bird, 

f 


X 


- 


^feiSfeSES 


b 


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sing-ing,     flow'rs  are    bloom-ing,    Spring's  bright  flags    are        all        un  -  furl'd. 
meet  in        ev    •  'ry     path  -  way,       She     doth     sing  with       ev    -   'ry     bird. 


animate 


m 


m 


Spring  Song. 

liJ  j  if 


JOS 


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m 


Come,  oh  come  then,  let     us    wan-der,  Thro*  the   sha  -  dy    wood-land  yon-der 
Soft    in  flow  -  er  -  heart  she's  bedded,    Hid    in  grass  with  dew   be  -  threaded 


*  L  1    J     1 7T~      I  H    |     |  J5 


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animato 

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Far    in    God's  wide    sun  -  ny  world,  Far    in    God's  wide  sun  -  ny  world. 

Murm-'ring  where    a   stream-let's  heard,     Murm-'ring  where  a  stream-let's  heard. 
p  cresc.  ^        — <r^  f  dim. 


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4 


m  Allegro. 

la.    i       Is 


How  Merrily  We  Live. 


Este. 


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- 


'  How  mer  -  ri  -  ly      we    live  that 


=F 


shep-herds  be,     that 


S3 


How     mer-ri  -  ly    we    live 


How      mer-ri  -  ly  we 


—l 

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hep-herds, shep-herds  be, how  mer-ri-ly  we  live 

7t                                                        *     * 

that  shep-herds 

H         ._!           .                  1 

i          r     h     1       i 

1                  1 

2    " 

ffl 

#        J        *     0     *     * 

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In)       4       &              m 

that  shep  -  herds 

be,  how  mer-ri-ly  we  1 

ive 

that  shep-herds 

ffrr — I — I — i r« 

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live  that  shep-herds  be. 


how  mer-ri-ly  we  live  that  shep-herds 


-» #-  ■    -  » f     0       -j y — 


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be,     that  shep-herds  be;  Round-e-lays,  round-e  -  lays,  round-e-lays,  round-e  - 


^ 


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be,     that  shep-herds  be 


Round-e-lays,  round-e-lays,  round-e- 


be,   that  shep-herds    be;. 


How  Merrily  We  Live. 

cmsc.  mf 


107 


-n — N ^ 


y  <*   re- 


lays, 


round-c-lays     still  we  sing    with      mer  -  ry 
mf 


1 


- ? * 1 

lays,round-e-lays,  rouud-e   -  lays 

n  cresc. 


still  we  sing    with     mer  -  ry 
mf 


5 


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roimd-e  -lays,round-e-lays,  round-e-lays      still  we    sing    with    mer  -  ry 

f  , fc_  \^^.f7^~ 

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glee,round-e-lays  still  we  singwithmer-ry  glee,  glee;  On      thepleasantdownsWhere, 

■t »— »— # 


-» — »    ^ 


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glee,round-e-lays  still  we  singwithmer-ry  glee.  glee;On     thepleasantdownsWhere, 


-N v 


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glee, 


still  wo  sing  with  mer-ry  glee,  glee;  On    thepleasantdownsWhere, 

f— — -j 1 I  -i     S K S S 1 


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as        our  flocks  we.   see,  OnT^  the  pleas-ant  downs  Where,  as  our  flocks  we 


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as  our  flocks         we      see,  On       thepleas-aiitdownsWhere,asourflocks  we 


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as        our  flocks  we     see,  On      the  pleasant  downs  Where,  as   our  flocks  we 

;;  cresc.  f  p  — =d 


-^ — X- 


3= 


tr 


st- 


see,  We"    '      feel    no  cares, we     fear  not      for    -    time's  frowns, We 

p  cresc.  f  p 


33 


i 


see,  We  feel     no        cares,  we    fear   not,    fear    not    for -tune's frowns,   We" 

p  crcsr.  f  p 


see,  we  feel      no        cares,  we     fear  not     for 


tune's      frowns,  We 


toe 


p 


How  Merrily  Wc  Live. 
f 


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-far 

cresc. 


careB, 


$i 


fear    not   for-tune's  frowns; 
f  P 


^^ 


feel         no    cares,  we  fear  not,   fear   not   for-tune's  frowns;  We  have  no 
cresc.  f  p 


■72- 


cares,  we   fear  not     for 


feel 


tune's  frowns;Wo  have  no 


We 


have      no     en    -    vy    which  sweet  mirth.sweet  mirth,  8weet 


■#  • 


-\ y y 1 

en    -    vy,      we      have       no      en    -   vy  which  sweet  mirth,  sweet  mirth, sweet 


1 


w 


o- 


vy 


which 


sweet 


mirth. 


I 


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mirth        con-founds,  sweet  mirth  con  -  founds, . 


•    |    <&- 


mirth  con  -  founds,  sweet  mirth  con-founds,  we     have     no    en-vy  which  sweet 


-o- 


rJ        * 


te 


con  -  founds,    sweet  mirth  con-founds,  we    have      no     en-vy  which  sweet 
cresc.  f  pit*  lento.        ^    D.  C. 


S 


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i 


1 


We  have    no  en  -  vy  which  sweet  mirth  con-founds. 

f  piit  lento.  D.C. 


m 


w 


■*_2L- 


mirth,  sweetmirth  confounds,  We  have  no    en  -  vy  which  sweet  mirth  con-founds. 
m  cresc.  f  piit  lento.  D.C. 


^ 


1 


KT 


miith,  Bweet  mirth  con-foundb,~ 


sweet        mirth     con-founds. 


Intervals  of  the  Major  Scale. 


109 


i 


-!*-__-«- 


VSf 


Perfect  Prime.  Major  Second.  Major  Third.  Perfect  Fourth. 


m 


V  -^^  -i*^~~  -&^  ■¥& 

Perfect  Fifth.  Major  Sixth.  Major  Seventh.  Perfect  Octave. 


Intervals  of  the  Minor  Scale. 


1 


m. 


Perfect  Prime.  Major  Second.  Minor  Third.  Perfect  Fourth. 


m 


i. 


Perfect  Fifth.  Minor  Sixth.  Major  Seventh.        Perfect  Octave. 

Studies  of  the  Third  and  Fourth. 


Ejj^p^P^^lE^ig^^^g^p 


ii. 


in. 


gg^P 


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VI. 


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VII. 

ES54  |  ->-- 


s 


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Intervals  of  the  Major  Scale. 


i 


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Perfect  Prime.  Major  Second. 


Major  Third.  Perfect  Fourth. 
^_ r_  _>z_ 


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Perfect  Fifth.  Major  Sixth.  Major  Seventh.  Perfect  Octave. 


Intervals  of  the  Minor  Scale. 


-& «»- 


Perfect  Prime.  Major  Second.  Minor  Third.  Perfect  Fourth. 


g 


9 


-<C> 


3fcE3 


O 


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Perfect  Fifth. 


Minor  Sixth.  Major  Seventh.  Perfect  Octave. 


Studies  of  the  Fifth  and  Sixth. 


Ell 


4      I    •—* 


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III. 

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L..  fd. ^* 1* i 


IV. 


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Studies  in  Sixths. 


tit 


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'ZL 


Studies  in  Sevenths. 


Z? 


I. 


m 


a-      n    4—0 L-^ — ^— L«- 


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Suggestive  Studies* 


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«^|         ,  V-^j ;j J J 

!      J  M-kM — • — 1  J 


58 


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H  '  N    *    *  I  * :  iH^-H  1  XH 


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Autumn  Days* 


Translated  from  the  German. 

Soli.     Andantino. 


Baumfelder. 

dim. 


% 


— i h 1 a- 


O    hap-py,    hap      -    py    au-tumn  days,  How  ma  -  ny 
The  pur-ple  grapes    show  ev  -  'ry  -  where         A  film    of 

The  oaks  are  turn    -    ing  red  and  brown,  The  wil-lows' 
Andantino. 


gor    ■ 

blue 

yel 


geous  flags  you 
like  smo-ky 
low  leaves  float 


Autumn  Days. 


H3 


Where  did    you  find 

And    trees    in  hill 

And      all    the  ma 

p  i  cresc. 


your  col  -  ors 
side    or-chards 
pies    are      a  - 

s       is 


rare 

old 

blaze 


_1 


That  all  the 
Bear  treas  -  ures 
Like  flames  a- 
mf 


"     '     "    'V     U  L>     b 

"Where  did    you  find  your  col  -  ors 

And  trees    in    hill  -  side  or-chards 

And    all     the    ma  -  pies  are       a  - 

I  S 


*= 


hills 

rus 

gainst 


and  val  -  leys  wear? 
set,  green,  and  gold, 
the  pur  -  pie      haze. 


Chorus. 


$=^ETfE¥3EFVr' 


all  the  hills  and  val  -  ley  wear?  ) 
treas-ures,  rus  -  set,  green  and  gold.  I 
flames    a  -  gainst  the  pur  -  pie     hazo.      ) 


£ 


hap  -  py     au-tumn,  rich  and 


1 


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rare, 


Where  did  you  find  your  col-ors  fair? 


3 


F-4-F- 


j#-w •» — ; — «i t r 1 r-t  r — 

^ — i — s^r- 


ii 


U4 


Spinning  Song. 


M.  Becker,  Tr.  by  Helen  Goodrich. 
Allegretto.  tnf 


).  Rhemberger . 


-<*lJ  m  *  F- 


-*-+- 


Allegretto. 


1.  Spin,  spin,      spin,  spin;  Thread  goes  out  and  in, 

2.  Spin,  spin,      spin,  spin,  Thread  goes  out  and  in, 


-*— jg- 


Turn-ing,  turn-ing      gai  -  ly, 
Lin  -  en    fine  we're    mak  -  ing, 

— a ff — h 


3* 


Learn-ing,  learning     dai  -  ly, 
Keep  the  thread  from  breaking, 


V*- 


ife 


♦i*- 


1 — r- 


p 


Make  our  wool    so    fine  and  strong,  Wind  it  as    it  slips     a  -  Ion.'?.  Spin,  spin, 
Spin      it    out      so    fine  and  white,  Till    itgrowsa  heart's  de-light,  Spin,  spin, 


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spin,  spin,  Thread  goes  out  and  in. 
spin,  spin,  Thread  goes  out  and  in. 


■#■#.3 


Studies. 


US 


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116 


Qxenford. 

n  Allegro. 


Awake!  Awake!  The  Dawn  is  Here. 

Am  from  A.  S.  Gattjr. 


I 


s 


v 


mf  J         J  '  " 

1.  A  -  wake!  a  -  wake!  the  dawn      is    liere,   Ring,  inoru-ing  bells, ding, (long! 

2.  On      ev  -  'ry    hill,    in    dale     and  dell,    Ring,  morn-ing  bells,  ding,  dong! 

3.  The  birds  with  -  in     the    sha  -  dy  wood,  Ring,  morn-ing  bells,  ding,  dong! 


fee 


— (V- 


3S 


1=^ 


mf 


N-T-- N- 


V 


i^ 


Shrill  crows  the  warn-  ing  chan  -  ti  -  cleer,  Ring,    morn-ing 

The  flow'rs  o  -  bey    the     po  -  tent  spell,  Ring,    morn-ing 

Chant  mat  -  ins     to    their   ti  -    ny  brood,  Ring,    morn-ing 


bells,  ding,  dong! 
bells,  ding,  dong! 
bells,  ding,  dong! 


S 


rail. 


-#-T" 


i 


j !/ 1? 5r-*T^ 

The   sun,    ar-  rayed  in     gold  and  red,  Is  ris  -  ing  from 

And  ope  their  sleep-ing  cups    a  -  new,  A  wel-come    to 

And  trill  with  joy      a      dul  -  cet  lay,  A  wel-come    to 


*=P= 


m 


his    east  -  era    bed. 
the     in  -  fant  dew. 
the     in  -  fant    day. 
rail. 


Thomas  Moore. 

Not  worlds 
Allegro  moderate. 


The  Daisy. 

"w\  W.  Gilchrist, 
on  worlds  in    phal-  anx  deep     Need  we     to       prove 


It 


q 


iPl^i^s 


Not  worlds  on  worlds  in    phal-anx  deep      Need  we      to       prove.. 


^ 


q 


I        1    I     1      __L.fcq=: 
7     5     *»■•      7     7 


I 


The  Daisy. 


117 


a   God  is  here.  The   dais 


y,  fresh  from  winter's  sleepv  Tells  of  His 


=t 


• — 


a    God  is  here. 


cresc. 

The  dais-  y,  fresh  from  winter's  sleep, Tells  of  His 

cresc. 


* 


■y.    '    4    '    -? 


5 


-«~  • 


"^  -  ^v  * 


hand    in       lines       as        clear; ....  For  who  but     He who  arch'd  the 


?E 


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r 


■&-      -0-  ft     i     i      i      i        i  — 

hand    in        lines . .  as        clear; . . . .  For  who  but    He     who       arch'd the 


=t 


:X 


-o- 


2=|t 


•*-  5  f" 


skies And  pours  the  day — spring's  living  flood, — 

who  arch'd  the  skies,  spring's  liv     -     ing  flood, spring's  living 


*      * *- 


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Wond'rousa   -    like in    all       He    tries,. 


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dim. 


x: 


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m 


....Wond'rousa  -    like        in         all,  in    all    He       tries,, 
flood,  dim. 


.  Could  rear  the 


* 


-Kt. 


dais  -  y's purple    head,    Could  rear  the  dais  -  y's    pur   -    pie    ?/jrJ? 


*— J — ~H — i     ,   I Fi — !     *      M'l 

■^zxpxxfcgxuxi-bg^ti       f-r— ^      ^  , 


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I 


dais -y's     pur  -    pie     head,    Could  rear  the  dais- y's        pur -pie         head? 


5t    33 


:Xx 
&—  is- 


-  '-  -      ,  t  CS  i 


118 


Mother  Dear. 


Tr .  from  the  German  of  Strunu 

u  Andante,  p 


Oehme. 


^ 


dear,       And  tho'ts  of    you  they  bring    to   me  The  thoughts  of      God  more 


i 


ly 


ms 


rt= 


^^ 


cresc.^ 

C    fa 


•*—     •#■       -#-b-#- 


±: 


way,     The  dear  -  est  moth  -  er     in   the  world;She  grows  more  dear  each  day. 


Exercise* 


\\9 


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13 


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rr? 


ie: 


• — «*— > — ^ 


■*5t 


"ST    -ZT 


The  Light  Of  Stars. 


W.  H.  Furness. 

Moderate. 


m 


cresc. 
—I 


<S.  Tysim-Wolff . 


-*-f>-*r- 


it8 


f  r    '  i 

1.  Slow  -  ly,  by  God's  hand  un-  furled,  Down    a  -  round  the  wea  -  ry  world 

2.  Might -y  Spir  -it,    here  am  I,       Work  in      me      as    si  -    lent  -  ly; 

3.  Ho  -  ly  Truth,   e  -  ter  -  nal      Eight,  Let  them  break  up-on        my    sight; 


ps 


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Falls  the      dark-ness:  Oh!  how    still        Is      the  work  -  ing    of      His     will! 
Veil  the      days' dis-tract  -  ing    sights,  Show  me  heav'n's  e  -  ter  -  nal    lights, 
Let  them     shine  se-rene    and    still,     And  with  light    my    be-  ing        rill, 


5 


-#— ft 


-*z-*- 


-' — ♦ 


J     J     J  i  4 


mf  'II  ^f       •*■      *~  ~~f 

Falls  the  dark-ness:  Oh!  how      still        Is    the  work  -  ing    of        His     will! 
Veil  the  days'  dis- tract-ing      sights,  Show  me  heav'n's  e  -  ter  -     nal    lights. 
Let  them  shine  se  -  rene  and      still,      And  with  light  my    bo  -    ing      till. 
mf 


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120 


The  Fly. 

BOUND. 


*•     Andante. 


Cocch'u 


I 


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thirst 


2. 


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fly, 


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up: 


I 


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Use 


your 


life 


C. 


while  you  may. 


4 — r- 


Quick'      -      ly 


life 


A  Study. 


•         ^^  ^  • 


4^*, 


way. 


Folksong. 


jL^jLgLJ. 


•#-- ; *- 


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1 


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bzt 


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5-  *" 


A  Melody. 


-=fr$Ar  J     n  i  rs    rs    r^  ,; 


El 


p 


J21 


Beethoven. 


-» — E 


m 


^^ 


i. 


fe^ 


If      p    l^g 


II. 


i 


1 


Studies. 


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^S         U  M       I       ,       i   I    i       i— zj=g_4_^L    !     J   |    |     n 


J.  Kemer. 

Lento 


The  First  Grass. 


Schumann. 


dain  -  ty  green,  thou  ten  -  der  grass,  Dost  bid  joy  haste,  and 
Thou  coin  -  est  from  the  earth's  dark  night,  I  smile  up  -  on  the 
Far,      far    from  home  thou  bidst    me    steal  From  sor  -  row      that       no 


gfefe$*=es^^^2 


sor  -  row  pass.  Thou  pre-cious  balm   to   me  hast  brought,  Still-ing  the  pain  the 
joy  -  ous  sight.    In-  to      the    for-  est  deep     I  press  And  greet  thee  with    a 
word  can  heal,  And     on   -  ly    thou,  fair  green  of  spring  To    aching,hearts  canst 


fi#4  '- 

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the 

pain 

the 

win 

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warm 

<-a    -    re.SK, 

An,l 

grefit 

thee 

with 

a 

warm 

ca    -    ress. 

glad   - 

noas      bring, 

To 

ach 

-  iug 

hearts 

caiiHt 

glad 

-  ness 

bring. 

122 


April  Shower. 


Allegretto. 


s S_ 


J.  L.  riaiton. 


Pat-ter,  pat-ter,    pat-ter,  pat-ter,  pat-ter,  pat-ter,  pat-ter.pat-ter,   Let     it 


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pat-ter,pat-ter, 


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Let 


y        P        ^        ^    V 
(  l.Down  the  steep  roof  let    it     rush,     Down  the 
u    roar,      lei       "  roar>  ^  2.Let  the  glanc-inglight'ning  flash,      Let    the 


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1 


forth  the  sweet  May  flow'r,bring  -  iug    forth   the      sweet 

crcsc. 


May  flow'r. 


hzzt 


^—r 


■*■      -*■ 


Burn*. 
Andante. 


Prayer. 


123 


Schubert 


SE 


m 


:& 


O     Thou,  who    kind  -  ly      dost      pro  -  vide      For       ev  -  'ry    crea  -  ture'a 


-1 

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£= 


*£ 


want,     We  bless  Thee,  God    of      na  -  tare  wide,    For    all     Thy  good-ness 
I^=—  mf  crpsc. 


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lent.       And      if       it  please  Thee,  heav'nly  Guide,  May  nev  -  er    worse  be 
/"  P  mf 

f—rt — -+- 


J24 


i. 


Studies  in  Difficult  Intervals. 

E-H-T-^F* 


a«s 


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IV. 


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1 


VI. 


PART  II. 

The  Introduction  of  the  Bass  Staff. 


Although  the  bass  and 
treble  staffs  are  separated  in 
music  as  it  is  usually  written, 
the  above  diagram  shows  their 
true  relation. 


Three  Views  of  the  Same  Chord. 

1  -       2  3 


I. 


Studies. 


illlli 


125 


=tt=t 


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III. 


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33 


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I.     Tranquillo 


Songs. 

(INTKODUCING  THE  BASS  CLEF.) 


£ 


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Folksong. 


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II.     Moderate. 


Folksong. 


— -A 1 — TJ!      J  m     «         i        J!      Jt? 


£^ 


Melody  in  the  Bass. 

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III.     J.ndo7»ie  marcato. 


F.  L.  Schubert. 


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F~*    *    * 


Translated 
Andante. 


from  Goethe. 


The  King;  in  Thulc 


127 


K.  F.  Zelter. 


E& 


ffi 


1221 


8 


32: 


tnf 

1.  An      an  - 

2.  The    gift 

3.  And  when 

4.  With -in 

5.  Thenrose 

6.  He     saw 


-&- 


cientking  in  Thu  -  le 
he  fond  -  ly  treas  -  nred, 
his  end  was  near  -  ing, 
his  lord  -  ly  pal  -  ace, 
the  an  -  cient  mon  -  arch, 
it     fill  -  ing,  sink  -  ing, 


Was  faith  -  ful    to      the  grave,  To 

He  quaffed  it     at     each  feast,  And 

His    heir,  each  cas  -  tie     old  He 

His     pal  -  ace  by      the    sea,  He 

He  drank  the  cup's  red   glow,  Then 

Deep  sink  -  ing    in       the     sea;  His 


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whom  his   dy  -  ing  la  -   dy 
tears  they  rose  andgath-ered 
gave,  with  hoard-ed  treas-ure, 
sat  with  knights  and  vas-sals 
cast    the    sa  -  cred  beak  -  er 
eyes    in  death  Avere  clos-  ing, 


A  gold  -  en  gob  -  let  gave . . . 
Be-fore  the  draught  had  ceased. 
All  save  the  cup     of     gold... 

At  feast  and  rev  -  el  -  ry 

In  -  to  the  flood  be  -  low. . . . 
And  ne'er    a  -  gain  drank  he 


A  Study. 


TO" 


PTH 


mt 


•zr 


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^^ 


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J  .       | J       !     J     „|  l-M5? 


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128 

C.  H.  Crandafl. 

By  permission. 

Andante. 


October. 


German  Alt. 


^ 


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S—r 


-#—'-# 


mf 


1.  Oh!swift-ly  forward  flashed  the  train  And  rich  the  Au-tumn    f  o-liage  caniedJn- 

2.  It    was     a    joy     to  watch  the  gleam  Of  ten  -  der  sky    and  tint  -  ed  leaf;  The 


rf* 


~N m- 


*— ^ 


til        it  seemed  that  past  the  pane  Oc  -  to  -  ber  flew    on  wings    of    flame, 
wind     ca-ressed  the  pla-cid  stream.It    was    a    day    of    sweet   be  -  lief. 


Andant 


K 


A  Study. 


I 


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s 


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Studies. 


O- 


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Studies. 


129 


<4: 


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America. 


•«*•— 


Smith. 

mf  Moderate). 


Carey. 


J 


1.  My 

2.  My 

3.  Let 

4.  Our 

mf 


coun  -  try  'tis        of     thee,  Sweet  land     of  lib  -  er    -    ty, 

na  -   tive  coun  -  try,    thee,  Land      of      the  no  -  ble    free, 

mu  -  sic  swell     the  breeze  And    ring  from  all  the    trees 

fa  -  tilers'  God,      to     Thee,       Au  -  thor    of  lib  -  er    -    ty, 


m 


3^*=*: 


u 


2    ■*• 


Of     thee      I      sing. 

Thy  name    I      love; 

Sweet  free-dom's  song; 

To     Thee    we    sing. 


Land  where  my        fa  -  thers  died,  Land    of       the 

I        love    thy    rocks   and    rills,    Thy  woods  and 

Let     mor  -  tal    tongues  a  -  wake,     Let    all      that 

Long    may    our      land     be  bright  With  free-dom's 

f 


F 


pil-grim's  pride,  From  ev'    -    ry 

tern  -  pl'd  hills;  My    heart    with 

breathe  par-take,  Let  rocks    their 

ho    -    ly   light,  Pro  -  tect       us 


:*=* 


3CZ3 


*■ 


e 


—-* ^r 

moun-tain  side  Let  free-dom  ring, 
rap  -  ture  thrills  Like  that  a  -rbove. 
si  -  lence  break,  The  sound  pro-long. 
by      Thy  might,  Great  God,  our  King. 


I 


130 


A  Song. 

FOR  BASS  VOICES. 


Andante. 


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O  Hemlock  Tree. 


From  the  German. 

Moderate. 


rr 


Folksong. 


1.  O  hem  -  lock  tree,  O 

2.  O  hem  -  lock  tree,  O 

3.  O  hem  -  lock  tree,  O 
mf    . 


* — * — ;   :v   ^ — *- 

hem-lock  tree,  How  faith  -  f  ul    are  thy  branches!  Thou'rt 
hem-lock  tree,    In    truth    I    dear  -  ly  love  thee.  How 
hem-lock  tree,     A       les  -  son  thou  dost  teach  me,  That  . 


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green  when  sum-mer  breez-es  blow,  And  green  'mid  win-ter's  drift- ing  snow,  O 

oft    at     mer  -  ry  Christmas  tide  Hast  filled  my   heart  with  joy   and  pride!  O 

ev  -  er  hope     and  con  -  stan  -  cy  Will  strength  and  comfort  give   to      me;  O 

t-* *—    m-i — ps \       I        [ 


O  Hemlock  Tree. 


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heru  -  lock  tree,      O    hem  -  lock  tree,    How  faith  -  ful    are      thy  branch-es! 
hem  -  lock  tree,      O    hem  -  lock  tree,       In  truth      1    dear  -   ly    love      thee, 
hem  -  lock  tree,      O     hem  -  lock  tree,        A      lea  -  son  thou    dost  teach    me. 


— \- 


The  Good  Comrade. 


Translated  from  the  German. 
Alia  mar  da. 

t—0-8  ?f — t — i N * 1 Hi 

_^n 

German  Folksong1. 

|/f  ff4    t 

1 2 2 2 ' — 

1 i T"^- 

i p 0 — 

1                 •              *              *                 s 

^         I        J    # 

fill 

» J         ** — ' 

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4 

» 

H ' ' L— J 

1.  I        once    had    a    broth  -  er        sol   -  dier,      A         com  -  rade    true    and 

2.  So      swift      a  ball  comes  speed-ing;       Is  it        for      me  .     or 

3.  No      more    we'll       march,     O      com  -  rade,    To  bat  -   tie    side     by 


5= 


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tried ;         We  march'd  at      sig  -  nal      giv  -  en 
thee?  Low       at      my    feet  he's       ly  -  ing, 

Bide;  My    hand  shall  clasp  thee    nev  -  er, 


With  step  so  blithe  and 
And  as  I  watch  him 
Yet    thou    re  -  main  -  est 


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e    -    ven     To    bat  -  tie    side     by        side,     To    bat  -  tie    side      by    side. 
dy  -  ing    He  seems   a     part     of         me,      He  seems    a     part      of      me. 
«v  -   er     My  com  -  rade  true    and     tried,   My  com  -  rade  true    and    tried. 


A  Study* 


132 


The  Wild  Huntsman. 


From  an  old  German  Legend. 
Vivace.        .  ^ 


Adapted  from  the  German. 


* 


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1.  Through  many  a    bleak  and  haun-ted  wood,  O'er  moor    and    val  -  ley      deep, 

2.  The      ant  -  lered  stag  in      wild    af -fright  O'er  splin-tered  chasm  doth  leap; 

3.  Not      oft       a    mor  -  tal      eye  hath  seen    Our  swift  train  for-ward    sweep 

Melody  in  the  Bass. 

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While  hoi  -  lo      ho!  the    hunts-men  cry,     My    spec-tral  train  doth  sweep; 

The    no  -  ble  prey  we      fol  -  low    fast     O'er    vale  and  crag  -  gy      steep; 

O'er  blast  -  ed  heath,  o'er    rag  -  ing  flood,  Thro'  gloom-y      for  -  est      deep. 

-#— i —  — i — i 1 K- 


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Now     hoi  -  lo      ho!      the  hunts-men  cry,     The  wood- 
Through  midnight  mirk    or    mid-night  gray,     In    tem  • 
Ah!    woe      be  -  tide    that  luck -less  wight;     His  mor 


'•  V..    -* 

horn  answers  mild, 

pest,  sleet  and  rain, 

■  tal    race    is  run! 


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And  horse  and  hound  and      ri  -  der    bold  Dash    on 

When  hoi    -   lo    ho!      the    hunts-men  cry,    Till    day 

Who  views  our  chase,    he     nev  -  er-more  Shall  look 


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with    tu  -  mult     wild. 

•  light  comes  a  -  gain. 

up  -  on        the    sun. 


E 


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1 


May  be  sung  first  as  Bass  Unison  Song. 


A  Study. 

For  unchanged  voices. 


Hoffman  von  Fallersleben.  FloWCr   Dances. 

Translated  by  Mrs.  Anderson. 
Andante. 


133 


Folksong. 


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1.  In    May    the    val  -  ley    lil  -  ies  ring,  Their  bells  chime  clear  and  sweet;  They 

2.  Then  in      a    trice    the    lil  -  ies  play,  While  all      to  dance  be  -  gin;      The 

3.  Yet  Frost  has  scarce-ly     left    the  vale,  When  lil  -  ies      far    and    near      Call 
mf 

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cry,  "Come  forth,  ye  flow  -  ers  all,  And  dance  with  twinkling  feet,  And 
moon  looks  on  with  friend  -  ly  smile,  And  takes  great  joy  there  -  in,  And 
quick  -  ly        to       the  spring-time  feast,  Their  bells  ring  dou  -  bly,   clear,  Their 


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dance  with  twin-kling    feet."  The    bios  -  soms,  gold  and    blue    and  white,  Come 
takes  great    joy    there  -  in.  Then    sad    -    ly  vexed    is      Mas  -  ter  Frost,    A  - 
bells    ring    dou -bly,     clear.    I'll      stay      no    Ion  -  ger      in      the  house,  The 


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quick-ly,  one  and  all;  Dear  speedwell,  blue  for -get  -  me-not,  And  vio-lets  hear  the 
down  the  vale  comes  he;  May-lil  -  ies  play  gay  tunes  no  more,  Thepret-ty  blossoms 
lil  -  ies  call  me,  too;  Sweet  flow'rets,  dancing  out    of  doors,  I  come  to  dance  with 


i 


call.  Dear  speedwell,  blue  for  -  get  -  me  -  not,  And  vio  -  lets  hear  the  call, 
flee,  May  -  lil  -  ies  play  gay  tunes  no  more,  The  pret  -  ty  blos-soms  flee, 
you,  Sweet  flow'rets,  dan-cing,    out       of  doors,     I     come    to  dance  with  you. 


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Studies. 

THE  BASS  CLE*. 


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Words  from  "S.  S.  Hymnal." 
iiy  permission  of  C.  L.  Hutchins. 


Morning  Hymn. 


English. 


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1.  The  breaking  morn  comes  back  to  bless  The  earth  from  pole  to  pole;  So 

2.  A     sil  -  ver    mist    a -long  the  lawn  From  ev  -  'ry  dew  -  y  sod  Goes 

3.  The  dawn  of    day,  the  dawn  of    life,    Are  blest    a  -  like    to  Thee^  Thou 

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come,  sweet  Sun    of  Right-eous  -  ness,  And  shine  in    -  to  my     soul, 

up      to  heav'njand  so       at     dawn  I      lift      my    thoughts  to     God 
know'stthe  dan-ger  and    the  strife;  Lord, bless  them  both       to      me. 


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Note.— The  above  study  is  to  be  sung  in  three  parts  only,  either  the  lower  AJto  or 
Baas  being  sung. 


A  Hunting  Song* 


135 


Translated  from  the  German. 


C.  Kreutzer. 


1 

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1.  There  can 

2.  Oth  -  ers 
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say, 

0 

no    sweet  -  er 
"The  breez-es 

mu    • 
rust 

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To 
In 

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the    mer  - 
the     for  - 

&i    .. 

ry 

est, 

huntsman's 
that    is 

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ear         Than    the 
all,"        But      the 
f 


VOIC 

mer 


they 
-    ry        hunts-man         an    -  swers,  "Hark,   the 


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Ting    out    sweet  and  clear,  Than  the      voie-es        of    the    for  -  est      As  they 
for  -  est    voie  -  es    call,"     But  the      mer-ry  huntsman    answers,  "Hark,  the 

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sweet  and  clear.  "Hoi    - 
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Old  Winter. 


FOR  BASS  VOICES. 


Frederick  Majjfay. 
f  Jfoderato. 


Eleanor  Smith. 


e 


I 


^-4-*- 


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V       ' 


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1.  Old  Win  -  ter      is       a     rob  -  ber  bold;  He  leads  a  band  both  fierce  and  cold;  He 

2.  He  comes  with  spears  of    smit-ing   hail;  He  rides  the  tempest,  clad  in  mail   Of 

3.  But  when  his      sis-  ter  Spring  ap-pears  With  sunshine  smiles  and  silver  tears,He 
Moderatn. 


0  . 


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comes  with  frost-y  blust'ring  hordes,  With  piercing  winds  and  chill-ing  gales,  To 
flash  -  ing  ice,  with  plumes  of  snow;  And  o'er  the  earth  his  bands  pre-vail;  The 
leads  his    ruf-fiancrew     a-way;Thenseeds   re-joice     in  buds;  the  whir  Of 


— 


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plun  -  der    all  the  fields  and  vales,  And  strike  the  woods  with  keen-edged  swords, 
leaves  and  flow  -  ers,  cold  and  pale,  Where'er    he    rides  are  strick-en    low. 
ma  -  ny  wings  stirs  all   the    air,  And  babes  and  lambs  come  out  to     play. 


A  Study. 


137 


^ 


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JJ 


H.  W.  Longfellow. 

By  permission  of  Houghton,  Mifflin  <S:  Co. 

Allegretto.  ^ 


Christmas  Bells. 

(Melody  in  the  Bass.) 


f5=±=& 


Mueller-Gilchrist. 


_ii^_u_# a «=C| ^=p ^_c_, • 5_Cj_ — I #-=J 


1.  I  heard  the  bells  on  Christmas  Day  Their  old  fa  -  mil  -  iar    car -ols  play,  And 

2.  Andtho'thow,  as    the    day  had  come,  The  bel-fries  of    all  Chris-ten-dom  Had 

3.  Thenpealedthebellsmoreloudanddoep:God  is  notdead;  nor  doth  He  sleep!  The 


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.01 \-0-.S-0 u 


"wild  and  sweet  the  words  re-peat  Of    peace  on  earth,  good  will    to         men. 

rolled  a-longth'un-bro-kensongOf    peace  on  earth,  good  will    to         men. 

WTong  shall  fail,the  Right  prevail  With    peace  on  earth,  good  will    to         men. 


gfe* 


BE 


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A  Study. 
(For  Soprano  and  Alto  voices.) 

-i — \ 


^^^mm^kirmsmm 


r^rT-^-gr 


138 


A  Study. 


The  Key  of  C  Minob. 


J     ,      1    I  — 


;4: 


acta 


p   0 


F±^#~n- 


^s 


-?-p4- 


-75- 


A  Lament  for  the  Summer. 


Adelaide  A.  Proctor. 
Lento. 


W.  W.  Gilchrist. 


SS 


=t 


— *" 


#-;- *. 


■*-*—* 


i^B^i 


-0 — 1 — ^ 


1.  Oh!     moan,        ye        au  -  tmmi  winds;       Sum      -      mer    has    fled;      The 

2.  Oh!   mourn,       ye        au  -  tumn  winds,       La       -      ment  and  mourn;  How 


is 


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Optional  Bass. —  27te  son*/  ('*•  complete  without  it. 


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1.  Oh!        moan. 

2.  Oh!       mourn. 


The 
The 


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flow'rs     hav«^  closed    their      teu 
ma      -     ny      half      blown     buds 


}  ., 


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flow'rs 
halt 


have 
blown 


elos'd 
buds 


:«: 


del- 
must 


leaves 
close 


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ami      'Ijc;  The 

and      die!         Hopes 


* ♦: 


— 0 — 


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their  ten  -  der 
must  close  and 


leaves;    The 
diel      Hopea 


A  Lament  for  the  Summer* 


139 


cresc. 

S N *- 


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b                               b      '           '    *                        '  ' 

lil  -  y's  gra-cious  head  all    low  must  lie,     Be  -  cause  the  gen  -  tie  sum-mer 

with  the  sum-mer  born,  all     fad  -  ed    lie,   And  leave   us  des  -  o  -  late,  and 

cresc. 


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lil 
with 


les 
the 


low  must  lie,    for    sum 
sum-mer  born,  all      fad 


is 
ed 


now       is    dead.     Oh!    moan,      Oh!     moan,     Oh!     moan,     Oh!     moan,     Oh! 
earth    for- lorn.      Oh!    mourn,    Oh!     mourn,  Oh!     mourn,  Oh!     niourn,  Oh! 


dead Oh!     moan,     Oh!     moan, 

now Oh!     mourn,  Oh!     mourn, 


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tumn  winds,    Oh!  moan,    Oh!  moan!    Oh!      moan, 
tumn  winds,    Oh!  mourn,  Oil!  mourn,  Oh!      mourn. 


:2=*: 


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3 


1 


sum  -  mer has     fled 

la  -  ment and  mourn, 

.pp. 


2=^-J— 


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moan, 
mourn, 


nioan,    moan, 
mourn,  mourn, 


moan, 
mourn, 


moan, 
mourn, 


moan, 
mourn. 


A  Study. 


^—] — =ff  -    I  />^ ^—^-^-11 


i 


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J40 


Now  the  Sun  is  in  the  West. 


Margaret  Casson. 

Andcut&imo. 


Margaret  Casson. 
Arr.  by  John  Hullah. 


&m 


s    f    •— y~ 


f    • . 


1.  Now     the  sun  is       in    the  west,  Sink  -  ing  now     be-hind    the  trees, 

2.  Cheer -ful  see  yon  shepherd  boy  Climb -ing  up      the  crag  -  gy  rocks; 

Andantino. 

it 


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And      thecuck-oo,   wel- come  guest,       Gen-tlywoos   the    ev-'ning  breeze, 
As        he  views  the   dap -pled   sky,       Fleas'd,  the  cuck-oo's  note  he  mocks, 


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Cuck  -  oo!        cuck  -  oo!        cuck  -  oo!        cuck  -  oo!         Gen  -  tly  woos    the 
Cuck  -  oo!         cuck  -  oo!         cuck  -  oo!         cuck  -  oo!      Pleas'd,  the  cuck-oo's 


PP 

, O- 

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JO. 


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Now  the  Sun  is  in  the  West. 


141 


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ev  -  'ning  breeze, 
note    he    mocks. 


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Sport  -  ive   now   the 
Now       ad  -vanc-ing 

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swallows  play,      Light  -  ly  skimming  o'er     the  brook;      Dart  -  ing  swift  they 
o'er  the  plain,        Ev-'ning's  dusk-y    shades  ap-pear,         And     the  cuck-oo's 


pp 


-+ Ja- 


wing their  way      Homeward  to     the  peace-ful   nook,      Whilst  the  cuck-oo, 
voice  a -gain  Soft-  ly    steals  up  -  on    mine  ear,         While    re  -  tir  -  iug 


kk=S=M 


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Now  the  Sun  is  in  the  West. 

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bird  of  spring,       Still      a-midst    the  trees  doth  sing,    Cuck-oo!       cuck-oo! 
from  the  view,        Thus    she  bids    the    day  a  -  dieu,       Cuck-oo!       cuck-oo! 


mf 


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cuck-oo!  cuck-oo! 

cuck  -  oo!  cuck  -  oo! 


Still  a  -  midst        the      trees    doth  sing. 

Thus  she    bids  the      day      a  -    dieu. 


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The  Wanderer. 


143 


Tr.  from  the  German  of  Hagenbach 
by  Helen  Goodrich. 

Alia  marcia. 


F.  Schneider. 


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1.  O'er    all    the  coun-try  round      I     go,    hur  -  rah! 

2.  A  -foot's  the    way    for     jol    -   ly  folk,  hur  -  rah! 

3.  A      jol  -  ly    comrade's  ev    -    er  strong,hur-rah! 


With  feet  that  nev  -  er 
For  him  who  loves  a 
The  short  road    to     the 


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rah! 


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he    who  can't  keep    up    with  me    Must 
So  -  ber  -  sides  can    stay    be  -  hind,  An  - 


weak     is    long,  hur  -  rah!  The     sun      is      hot,  the  breeze  is    cold,  And 


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could  a  -  gree!  We  nev  -  er,  nev  -  er  could  a  -  gree,  Hur  -  rah,  hur  -  rah! 
wand'rer's  mind,  For  gay  ehould  be  the  wand'rer's  mind,  Hur  -  rah,  hur  -  rahl 
stout  and  bold,    But  wo    push  on  more  stout  and   bold,  Hur  -rah,  hur  -  rah! 


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144 


A  Norse  Lullaby. 


Eugene  Field. 

By  permission  of  Charles  Scribner's  Sons. 

Andante. 


W.  W.  Gilchrist. 


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Melody  in  Bass. 


The  sky    is      dark, 


The  hills  are      white 


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lit  -  tie  one,     sleep.' 


Andante. 

1.     The     sky 


A  Norse  Lullaby. 


is    dark        and    the      hills 


are  white 


145 

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storm-king  speeds  from  the  North  to  -  night,  And  this    is  the  song  that    the 


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Suggestive  Studies. 


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Santa  Lucia. 


Translated  from  the  Italian. 
Moderate.  — =rT        "~r 


Neapolitan  Boat  Song. 


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1.  Moon-light,  so  sweet  and  pale,  From  heaven  falling;  Wavelets  that  murmur  low, 

2.  Soft  winds  that  come  and  go,  Coolness  are  bringing,  Bearing   on   gen-tle  wings 

3.  O    joy!    to   lie    at  rest,  Drifting  and  dreaming  On  ocean's  peaceful  breast, 

Moderato. 


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Sum-mer 
Float  o'er 
Na  -  pies, 


>      5      I 

To    us      are      call  -  ing.  White  is      the    sum-mer  night; 
Ech-oes      of     sing  -  ing.  Waits  the  light  boat  for  thee, 
'Neath  moonlight  gleaming!  Bride  of      the    sum-mer  sea, 


the 

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Santa  Lucia. 


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sil  -  ver  bright, 
waves  with  me. 
child  to    be! 


San  -  ta 
San  -  ta 
San  -  ta 


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ci    -    a!  San  -  ta  Lu  -  ci 

ci    -    a!  San  -  ta  Lu  -  ci 

ci    -    a!  San  -  ta  Lu  -  ci 

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A  Study. 


F.  Moehrlng. 


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J48 


The  Glow  Worm. 


William  Leslie  Bowles. 
Larghetto  con  moto. 


J.  Barnby. 


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Oh!  what  is  this  which  shines  so  bright,  And  in        the  lone  -  ly  place 


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his  small  green  light  at  night,  The  clew  -y  bank      to      grace? 

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The  Glow  Worm. 


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stars,  O     night-in  -  gale,  Seem  list-'ning  to     thy  song. 


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huni-ble  light,  As  lone  -  ly     and  as    still, 


As    lone  -  ly  and  as     still. 


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Farewell  to  the  Woods. 


From  the  German. 

Andante. 


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1.  Now    fare  thee  well,  dear  wood-land  green,fare  -  well,     fare  -  well; 

2.  Fare  -  well     to      ev  -  'ry  frown-ing  height,fare  -  well,     fare  -  well; 
8.   And  should    1       al  -  ways   part  -  ed    be,      fare  -  well,     fare  -  well; 

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may  en-dure  thy  blossoms'  sheen,fare-well,  fare  -  well;     May  bal-sam  fra-grance, 
tender  green  sward  flush'd  with  light,fare-well,fare  -  well;      My  heart  is  sad,    My 
wood,0  rock,    O  bird,  from  thee,  fare-well,    fare  -well;  The  thought  of  you  my 

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birdling's  voice  Full  many  a  wanderer's  heart  re-joice;  Fare-well,  fare  - 
heart    is  sore;  God  knows  if    I     shall     see  thee  more;Fare-well,  fare' 
pain  will  sootbe,Dear  comrades  of  my        hap-py  youth,Fare-well,  fare  - 
cresc. 


well, 
well, 
well, 


dear 
if 
dear 


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Farewell  to  the  Woods. 


151 


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•woodland  green,  fare  -  well,     Fare-well,    fare  -  well,  dear  woodland  green,farewell. 

I  shall  see  thee    more,     Fare-well,    fare  -  well,     if         I  shall  see  thee  more. 

comrades  of     my    youth,    Fare-well,    fare  -  well,  dear  com-rades    of    my  youth. 


•«•' 


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Andantino. 


Studies. 


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152 


A  Melody. 

(For  low  voices.) 


Hoffman  von  Fallerslefeen. 


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C.  H.  Crandall. 

By  permission. 

^4  llegretto 


Thanksgiving  Day. 


Canon  Ainslee. 


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1 


1.  Not  once     a  year,  but  ev-'ry  day,  With  hearts  by  gratitude  grown  tender,  Would 

2.  When  comes  the  harvest  of  the  year  We  come,  with  hearts  o'er  full,  confessing  How 

3.  Then  let     us   all  sur-vey  our  past  And  note  Thy  guidance  to  our  liv-ing,  Till 
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wo    thus  pause  up  -  on    our  way  And  praise  and  thanks  un  -  to  Theeren-der. 

all    our    land    is    filled  with  cheer  And  all    our  coasts  bask  in  Thy  blessing. 

each  con  -  f ess  -  es      he     at    last    Has  great -est    cause  for  true  thanksgiving. 

— i —  i      *--■      —  * — *—   • 


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Translated  from  the  German. 
Vivace, 
mf 


Our  Country. 


J53 


B.  Klein. 


3 


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1.  Murm'ring  sweet  -  ly  flow    the    riv  -  era  In    the  green  vale  at  our    feet, 

2.  On    the  heights  and  mountain  gor- ges  Kiss  -  es  Spring  all  life  a  -wake; 

3.  Com-rades,  let    fair  Spring,  re  -  turn-ing  To    our  hearts,  with  us  a  -  bide, 
mf 


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And   the  flow'rs  no  man    can  num  -  ber,  Ev    -  er 
Fall  -  ing     av    -    a  -  Ian  -  ches  thun-der,  And    the 
Ev  -  'ry -thing   that  bless-es    mor-tals,  Bless    us 
cresc.  f 


fresh  the  wa  -  ters  greet, 
i  -  cy  mountains  break, 
still,     and    be    our  guide. 


0       • 


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y 


Here  are  sound-ing  songs  of    glad-ness,  And    the    heart    is      joy  -  ous 
Now  the      noblest  thoughts  re-turn-ing,  Felt    be    -    fore    our    soul    to 
Love  and  faith,  let    both    re-main-ing    Fas  -  ter       bind  our  hearts  to 
mf 

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here; 
cheer, 
thee, 


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May    thy  love    be      ev  -  er    with  me,  Truo    to    thee, 

*    ■*    -&■  '• 

my  conn -try    dear. 

Full  -  er  swell  our  hearts  and  voic  -  es      All    for    thee, 

our  couu-try    dear. 

Let    our  cour  -  age  have  the    pow  -  er      To  main-tain 

our  coun  -  try    free. 

cresc.                                             ff 

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A  Study. 


Andante  reliQtoso. 


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Lucy  Larcom. 
Allegretto. 


Christmas  Hymn. 


Sir  Arthur  Sullivan,  arranged. 

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1.  Bring     in    the 

2.  It  is    His 

3.  He    gives    all 

4.  Made  peaceful 

5.  We 
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trail-ing  for  -  est-moss,  Bring  ce  -  dar,  fir  and  pine; 
dear  mem  -  o  -  rial  day,  Who  broke  earth's  frozen  steep, 
lov  -  li  -  ness  that  grows,  The  strong  and  graceful  trees; 
by  His  con-stant  love,  Let  thought  of  Him  a  -  bide; 
keep  the  bright  home  fes  -  ti  -  val,  And,  with      a  child-like      cheer, 


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And    who  for        her  hopes  glad-'ning  ray     For  -  ev  -  er  bright  will   keep. 

The   win  -  ter      moss,    the    fresh  June  rose,  The  dear  Lord  saves  us    these. 

To    find  us       our      last    home    a  -  bove,  He    home-less  lived  and    died. 

His      an  -  gel   -  ush  -  ered    birth-day    call  The    mer-riest      of    the     year. 


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Good-bye,  Uid  Year. 


Lydia  Avery  Coonley. 

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Peaceful  Slumbering. 


English. 


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Stephen  Storace. 


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Allegretto. 


1.  Peaceful  slumb'ring  on  the  o  -  cean,  Sea-men  feel  no 

2.  Calm  and  peace  the  soul  controlling,  Home  and  love  in 

3.  Wak-ing  hours  once  more  are  dawning,  Storm  and  tempest 

4.  While  the  billows, wild-ly  toss-  ing,    Drive  the  bark,now 

5.  Safe    in  port,the  ship  now  riding,  Home  and  love  once 


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dan  -ger  nigh  The  winds  and  waves  in  gen -tie  mo-tion  Soothe  them  with  their 
dreams  go  by,  The  while  the  waves  in  plac-id  roll -ing  Soothe  them  with  their 
till  the  sky,  The  trust-f  ul  sea-man,  dan- ger  scorning,  Soothes  his  heart  with 
low,  now  high,  Still'd  each  fear  the  bos  -  om  cross-ing,  Sooth'd  by  hope's  sweet 
more  are  nigh,       Toil    and    trial  no    more  be  -  tid  -  ing,  Sooth'd  all  fear  in 


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Note,— If  no  bass  voices  are  available  the  altos  may  sing  the  bass  part  an  octave 
feigner. 

A  Thanksgiving;  Ode. 

J.  G.  Holland.  English. 

By  permission  of  Charles  ScriboeT**  Bona. 

Andante. 


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1.  For  summer's  bloom  and  autumn's  blight,For  bendingwheatand  blasted  maize,For 

2.  We  trace  to  Thee  our  joys  and  woes,  To  Thee, of  caus-es  still  the  cause;  We 


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health  and  sick-ness,  Lord  of    light  And  Lord  of  darkness,  hear    our  praise, 
thank  Thee  that  Thy  hand  be-  stows,  We  bless  Thee  that  Thy  love  withdraws. 


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1.  Long  ere      the  soft    winds  blow,     E'en 

3.  Vio  -  lets     are  hid         a   -  way,    Wood- 

3.  Blow  winds,  and  fall,       ye    snows;  Well 

4.  List     to       his  car     -    ol    clear,    Echo 


'mid    the       fall    -   wg  snow, 
lands  look       old        and    gray; 
the    dear      blue   -  bird  knows 
•  ing  through  wood  -  lands  drear 


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Why      come 
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164: 


The  Happy  Farmer. 


1 


Frederick  Manley. 
Allegretto. 


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1.  A  flash-  ing  radiance  comes  at  dawn  And  calls    me  forth    to  welcome  toil      A- 

2.  The  lit  -  tie  val-  leys  smile  at  me,     The  birds  sing  greetings  all    a-round,  The 

3.  My  soul    is  rich    in     si-lent  songs,Oh!  sweet-  er   far     than  uttered  lays    Of 

4.  I    love   my  work,  I     love  my  kind,  The  clouds  of  heav'n,  the  dai-sied  sod;     I 

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mong    the  rows     of    golden  corn    And  fields    of  rich    and  bounteous  soil;     Its 
brook -lets  wink    so  rogu-ish-ly      And  glance  a -long   with  joy  -ful  sound;  Their 
birds  that  make  harmonious  throngs  In  all      the  dap  -  pled  woodland  ways:  The 
bear    al  -  way      a    cheerful  mind;  I    wor  -  ship  Him,  the  lov  -  ing   God, Whose 


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bright  rays  dai  -  ly  pierce  my  heart  And  fill       it    full       of    sun-ny  mirth.  A 
glad-nessdai  -  ly  brings  my  heart   A    flood     of  thank- ful-ness  and  mirth.  The 
joy       of  flow'rs  is        in     my  heart,  And  fills       it    full       of  dancing  mirth.  My 
kind-  ness  gives  each    hu-man  heart  Such  wealth  of  beau  -  tj%  joy,  and  mirth.   I 


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The  Happy  Farmer. 


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flash  -  ing  ra-diance  comes  at  dawn  And  calls    me  forth     to  wel-come  toil, 
lit  -  tie   val  -  leys  smile  at  me,     The  birds  sing  greetings  all      a  -  round, 
soul      is  rich     in       si- lent  songs, Oh!  sweet -er    far     than  ut  -  tered  lays, 
love    my  work,     I       love  my  kind,  The  clouds  of  heav'n,  the  dai  -  sied  sod. 


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166 


Battle  Hymn  of  the  Republic 


gn 


Jufia  Ward  Howe. 

Andante. 


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1.  Mine  eyes  have 

2.  I        have  seen  Him 

3.  I        have  read  a 

4.  He      has  sound  -    ed 

5.  In       the  beau  -    ty 

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com-ing    of        the  Lord;    He      is  trampling    out      the    vin  -  tage  where  the 
hun-dred   c  ir-cling  camps;  They  have  build-ed    Him      an       al  -    tar      in      the 

burnished  rows      of    steel,  "As      ye    deal  with  my     con  -  tern  -  ners,  so    with 
nev  -  er    call       re  -  treat;  He      is       sift  -  ing  out      the  hearts    of    men     be  • 

born      a  -  cross    the    sea,   With     a      glo  -  ry      in      His      bo  -  som  that  trans 


grapes  of  wrath  are  stored;  He  hath  loosed  the  fate  -  ful  lightning  of  His 
eve  -ning  dews  and  damps;  I  can  read  His  right-eous  sen-tence  by  the 
you  my  grace  shall  deal;  Let  the  He  -  ro,  born  of  wo -man,  crush  the 
fore  His  judg -ment  seat;  Oh!  be  swift,  my  soul,  to  an-swerHim,  be 
fig  -  ures  you     and    me;       As     He    died,     to   make  men     ho  -  ly,    let      us 

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ter    -      ri  -    ble      swift  sword;    His  truth 

dim        and     flar    -  ing    lamps;    His  day 

ser    -    pent  with       His    heel,"  Since  God 

ju    -      bi  -   lant,      my      feet;      Our  God 

die,        to     make    men     free,  While  God 


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Glo  -  ry,  glo  -  ry,  hal  -  le  -  lu  -  jah!      Glo  -  ry,  glo  -  ry,  hal  -  le  -    lu    -    jah! 
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Glo  -  ry,  glo  -  ry,    hal  -  le  -  lu    -    jah!     His  truth    is    marching    on. 

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If  OXE.— Tho  above  ia  a  three-part  study,  either  the  Bass  or  the  Lower  Alto  may  bu  aung. 


168 


O  Lord,  Our  God,  Thy  Light  and  Truth. 


Montgomery. 

Moderate. 


Jeremiah  Clark. 


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1.  O      Lord,  our    God,  Thy    light  and  truth    To       us,  Thy    chil-dren,  send, 

2.  By       na  -  ture    sin  -  ful,    weak,  and  blind,  The  down-ward  path    we    trod; 

3.  But  friends  and  guar-dians    now  thro'  grace  Our    heed-less  steps    re  -  strain-, 

4.  Hence,  to    the    hills    we        lift    our  eyes,  From  which  sal  -  va-tion  springs: 


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That     Ave    may  serve  Thee    in     our    youth,  And    love    Thee  to  the    end. 

Our   wand-'ring  heart  and    way-ward    mind  Were      en    -    e  -  mies  to     God. 

They  teach    us,  Lord,    to     seek  Thy    face,  Which  none  shall  seek  in    vain. 

O      Sun       of    right-eous  -  ness,    a  -    rise,  With    heal  -  ing     in  Thy  wings 

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German  Patriotic  Song. 


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Note.— The  above  is  a  three-part  study;  either  the  Buss  or  the  lower  Alto  may  be  sung. 


The  Fox  Hunt. 


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2.  The  east     is  bright  with 

3.  Be  -  hold  the  skies  with 

4.  The  hors  -  es  snort    to 

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be       at  the  sport,  The  dogs  are 


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170 


The  Archer. 


Frank  Dempster  Sherman. 

By  permission  of  Houghton,  Mifflin  &  Co 

Allegretto. 


Old  Melody.    Arr. 


A  llegretto. 


1.  His      home         is 

2.  And    sit      -  ting 

3.  Strong  is  his 

4.  Come  out,  come 


1.  His    home 

2.  And  sit 

3.  Strong  is 

4.  Come  out, 


is    yon-der    in     the    sky; 

ting  down  he  looks  a  -  round 

his  arm,  he  knows  it    well, 

come  out!  the  hunt  is     done; 


There, 
The 
And 
No 


yon-der   in     the    sky; 
down  he  looks   a  -  round 
arm,   he  knows  it      well, 
out!    the  hunt  is      done; 


There,  when  the     chase    is 
The  green  fields  wide    and 
And  sure     his     stead  -  y 
No    dan  -  ger     shall    we 


*         *■         > 


The  Archer, 


171 


when  the     chase     is 
green  fields  wide    and 
.sure  his      stead  -  y 
dan-ger       shall      we 


o'er,  He   hangs         his  gor 

far,  Where  pros    -  trate  ly 
aim;  For  him  the  miss 

know;  For  yon       -  der  see 


geous  bow  on   high 

ing  on  the  ground 
•    ing  ar-rowstell 
be-neath  the  sun 


o  er, 
far, 
aim; 
know; 


He    hangs 
Where  pros     - 
For  him 
For  yon 


his  gor. 
trate  ly 
the  miss 
der  see 


geous  bow 
ing  on 
ing  ar 


on    high      A  - 

the  ground  His 

rows  tell        The 


be  -  neath        the  sun 


His 


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A      -  bove,a  -  bove  the  o-pen  door, 

His  ma  -  ny,     ma-ny  victims  are, 

The  num-ber,  number  of  the  game, 

His  promise,  promise  and  his  bow  ! 


— 0 — *#-«-'-# — 0  m    ^0-^-0 — ■-■ 


Above  the  o   -  pen    door. 
His  many  vic-tims  are. 
The  number  of  the  game. 
His  promise  and  his      bow! 


:fc— 


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bove  the 
ma  -  ny 
num-ber 
prom-ise 


o  -  pen 
vie  -  tims 
of     the 
and    his 


door, A-bove     the 

are,    His  ma  -  ny 

game, The  num  -  ber 

bow  ! His  prom  -  ise 


o  -  pen  door, 

vie  -  tims  are. 

of      the  game, 

and    his  bow » 


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The  Sweet  Birds  Are  Singing, 


m 


illegro. 


Walker. 


•  7  f  7  f  r- 


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1.  The  sweet  birds  are    sing  -  ing    From   ar-bor      to   spray,  From  ar  -  bor      to 

2.  All      na-ture    re  -  joic  -   es         In  spring-time  and  May,      In  spring-time  and 


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1.  The  sweet  birds  are  sing  -  ing    From    ar  -  bor      to  spray, 

2.  All      na-ture     re  -  joic  -  es         In  spring-time  and  May, 


sa ;  i  ^  ^rf r   r  7~? 


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May. . 


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Sing,  shepherds, 


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The  sweet  birds  are  singing  From  ar  -bor   to    spray. 
All   na-ture  re- joic-es  In  spring- time  and  May. 


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shepherds,sweet  May, 


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The  Sweet  Birds  Are  Singing. 


173 


dim 


dim. 


$ 


May,    sweet  May,mer-ry      May,    mer  -ry    May,    sweet  May,  mer-ry   May 
dim.  cresc.  ^.  dim. 


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May,  mer      -      ry     May,    mer-ry    May, 

dim.  cresc.  dim. 

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mer 


ry  May. 


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Studies. 


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II. 

Allegretto. 


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From  the  German. 

A  llegro. 


A  Snowy  Day. 


C.  Attenhofer. 


?=iFi'  *  S  Le£ 


f  I" 

1.  It  snows,it  snows!  And  cold  the  North  wind  blows.  See, how  the  bare  trees  qui  -  ver ! 

2.  It  snows,it  snows!  And  cold  the  North  wind  blows.  Weak  folks  their  toes  are  toasting, 

3.  It  snows,it  snows!And  cold  the  North  wind  blows.Forts    all    of  white  aregrowing, 

A  llegro. 


f  non  legato 


^^ 


5 


-*- 


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p  erase. 


h 


RdE 


Azt. 


§ 


•XL 


crp.se. 


I 


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p  mf 

See,    how  the  peo-ple  shi-ver!     Ah!  but  the  boys  are  glad, Tho' all  the  world    is 

Boys  laugh  and  go    a-coasting.Small  need  for  fire  have  they  When  comes  a  snow-y 

Ar  -  mies  to  bat-tie  go-ing. Thick  see  the  snow-balls  fly!  Now,  soldiers,fight  or 


A  Snowy  Day. 


175 


tt 


y- 


sad,  Ah!    but    the  boys  are    glad,  Tho*  all    the  world  is      sad. 

day,  Small  need  for    fire  have  they  When  comes  a    snow-y      day. 

die,  Thick    see    the  snow-balls  fly!  Now,   sol-diers,  fight  or     diel 


A  Study. 


Andante. 


s 


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Folksong. 


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3 


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176 


The  Watch  on  the  Rhine. 


$ 


Max  Schneckenbcrgtr. 
Allegro  maestoso. 


Vdhtlm. 


J    J.J    J 


km       N  i    i  i— t-  r  J    J  i  j    j    r   -j-tWr 


s=^ 


T    r~1 


1.  A 

2.  A 

3.  So 

4.  The 


peal  like  thun-der  calls  the  brave,  With  clash  of  sword  and  sound  of  wave, 
hundred  thousand  hearts  beat  high,  The  an  -  swer  flames  from  ev  -  'ry  eye; 
long    as  blood  shall  warm  our  veins, While  for  the  sword  one  hand  remains, 
oath    resounds,  the  wave  rolls  by,  The  ban  -  ners  wave,  advanced  on  high; 


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The  Ehine,  the  Ehine,  the  German  Khine!  Who  now  will  guard  the  riv  -  er's  line? 
The    Ger-man  youth  de  -  vot  -  ed  stand    To  shield  the  ho  -  ly  bor  -  der  -  land. 
One   arm     to    bear    a    gun,    no  more  Shall  foot    of   foe-man  tread  thy  shore! 
The  Rhine,  the  Khine,  the  German  Rhine!  We    all    will  guard  the  riv -er's  line! 


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Dear  Fa-ther-land,no  fear  be  thine,  Dear  Fa-ther-land,no  fear  be  thine, Firm  stands  the 


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guard  a  •  long,  a  -  long  the  Rhine,  Firm  stands  the  guard  along  the  Ger-man  Rhine! 


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Blow,  Blow,  Thou  Winter  Wind.  177 

R.  J.  S,  Stevens. 


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Blow,blow,thou  winter  wind,    Thou  art  not  so  un-kind      As  man's  in -grat- i« 

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cause  thou  artnot  seen,  Although  thy  breath  be  rude,al-  though  thy  breach  be  rude. 


178 


Blow,  Blow,  Thou  Winter  Wind* 


Allegretto. 
P 


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Heigh  -  ho!  sing  heigh-ho  un-to  the  green  holly ;  Most  friendship  is  f  eigning,most 
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jolly,most  jolly, this  life  is  most  jolly, most  jolly, this  life  is  mostjol-ly. 


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this  life    is  most  jol-ly, 


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jolly,most  jolly, this  life  is  most  i^^most  jolly,this  life  is  mostjol-ly. 


Blow,  Blow,  Thou  Winter  Wind. 


179 


Andante. 


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friend . 


re  -  mem  -  ber'd  not, ...  as    friend    re  -  mem  -    ber'd  not. 
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oh*rp       As     friend  re-iueniber'u       not,...  us  friend,  re    -    mum  -   ber'd     not. 


180 


Studies. 


I. 


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The  Summer  Days  are  Coming. 


Translated  from  the  German. 

Allegro. 


R.  Schalm. 


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X.    The       sum  -  mer  days    are       com    -    ing,      For    drows  -  y       bees       arc 
2.  When     sum  -  mer  days    are       com   -    ing,      The    time    has     come      for 


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hum-ming,  Spring's  milder   days,  with  sun  and  rain,  Uave  waked  the  fields  of 
roam  -  ing.  Then    let     us  haste   in    field  and  lea     To    greet  her,  full     of 

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ten  -  der  grain,  And    pret  -  ty  flow'rs  a  -  bloom-ing    The  gen  -  tie     air     per 
mirth  and  glee,    Who  brings  the  crim- son     ro  -  ses,    Who  Nature's  wealth  dis 
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clos  -  es,     With  bird    and  bee       re-joice,  For    sum-mer's  com    -      -    ing. 


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In  the  Tempest. 


From  the  German. 
Allegretto.       3- 


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G.  Tyson-Wolff. 


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1.  Winds  that  howling  blow,Whirling,driving  snow,Do  your  worst;the  foulest  weather 

2.  For-tune's  bitt'r-est  frown  Ne'er  shall  cast  us  down,  Send  she  pain  or  loss  or    anguish 
A  llegretto. 


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Wind  and    cold  and  sleet    to  -  geth  -  er,  O'er     our     spir  -  it       has       no  might, 
Faith  and  trust  she    can  -  not  vanquish, Though  she    send     us      tear      and  sigh, 

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Storm  by  day,storm  by  night!Still,our  hearts  are  warm  and  light,  Are  warm  and  light. 
Nev  -  er    ill  shall  come  nigh  Steadfast  hearts  with  cour-age  high,  With  courage  high. 


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Russian  Folksong. 


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Evening  Prayer. 


Lento. 


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Richard  Mueller. 


Si 


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1.  When  the  night-fall  round      us    clos  -  es,  When  the   bu  -  sy     day     is    done, 

2.  While  we  sleep,  Thy   flock      de  -  fend-ing.  Keen    us     in      se  -  cu   -  ri  -  ty, 
L*nto.  ,  .  ,s  I 


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Lord/Thy  good-ness  ne'er    re  -  pos 
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es,    But      in  dark  -  ness  watching    on; 
ing,  Help  us  more      to    hon  -  or     Thee; 


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Ho  -  ly  Shep-herd,  still  Thine    eye 
Day    and  night,  un  -  til        the    end 


Guards  us      all      un  -  tir  -    ing  -  ly, 
Lord,  Thy  child-ren  thus    be-friend. 


Ho  -  ly  Shep-herd,still  Thine 
Day  and  night,   un  -  til      the 


eye 
end. 


Guards  us     all,     un-tir     -    iug    -  ly. 
Lord,  Thy  chil-dren  thus      be  -  friend. 


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George  Howland. 
Andantino. 
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Decoration  Day. 


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der  -  ly  bring-ing  our 
•  ly  their  lives  for  the 
(  Scorning  their  coun-try's  true 
I  Wor  -  thi  -  er  shrine  than  the 
\  Where  o'er  their  dust  nev  -  er 
\  Leav  -  ing    be  -  hind  them     a 

p  dolce 

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flo  -  ral        ob  • 
life      of        the 
birth-right    to 
grave  of      the 

foe  -  man  shall 
death-less     ex  - 


la  -  tion,  Strew  we     the 
na  -  tion,     Gal  -  lant  -  ly 
bar  -  ter,      Life    in      the 
mar  -  tyr,     Free-dom  seeks 
tri  -  umph,  Safe    in    earth's 
am  -  pie;     Peace-ful  -  ly 


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dan-ger  to    f al  -  ter,  Precious  in-her  -  it-ance  thus  to  bequeath;  Where  findsre' 
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graves  while  their  virtues  re-peat-ing,  Ten-der  -  ly,    lov-ing-ly  strew  them  with  flow 'rs! 


186 


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23E 


Bugle  Song. 


W.  W.  Gilchrist. 


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1.  The  splen-dor     falls 

2.  Oh!  hark,  Oh!     hear, 
2.     O     love,  they    die 


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go  -  ing,  Oh!  sweet  and     far,         from  cliff    and     scar,        The  horns  of 
riv  -  er;  Our    ech  -  oes     roll         from  soul     to       soul,        And  grow  for 


cat    -    a-ractleaps  in  glo  -  ry. 
Elf      -      land  faint-ly  blow  -ing! 
«'.v        -        cr    and  for    ev  -  er. 


Blow,   bu  -  gle,  blow, 
Blow,  let     us     hear 
Blow,   bu  -  gle,  blow. 


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A  Study. 


Mary  Bourdillon. 
A  llegroUo. 

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Above  the  Clear  Blue  Sky. 


Am  from  E.  J.  Hopkins. 


«r^-*=g-u; — « — * — -- 


1.  A  -  bove      the  clear    blue  sky,  In  lieav  -  en's  bright     a 

2.  But  God  from  tongues  of  men,  On  earth      re  -  ceiv  -  eth 

3.  O      bless  -  ed  Lord,    Thy  truth  To      all     Thy  flock      im 

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teach  us      in     our  youth   To  know  Thee    as  Thou    art; 


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Why  Lingers  My  Gaze} 


189 


Hemans. 
Andante,  dolce 


Welsh. 


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1.  Why  lin-gers  my    gaze  when  the    last  hues    of     day     On  the  hills    of      my 

2.  Why  rise   on  my  thoughts,  ye  free  songs  of    the   land,  Where  the  harp's  loft-y 

3. 'Tis    not    for  the  land      of     my  sires    to   give  birth    Un  -  to  hearts  that  may 

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coun-try    in  love- li-ness  sleep?  Too  fair  is    the  sight    of      awand'rer  whose  way 

soul  on  each  wild  wind  is  borne?  Behush'd,befor-got-ten,  for  ne'er  shall  the  hand 

shrink  when  their  tri-al      is  nigh;   A  -  way!  we  will  bear      o  -  ver    o  -  cean  and  earth 


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dim. 


Lies  far  o'er  the  measureless  worlds  of  the    deep.  Fall,shadows  of  twilight,  and 
Of  the  minstrel  with  mel-o-dy    greetmy  re  -  turn.  No!   no!  let  your  eeh-oes  still 
A    name  and    a  spir  -  it  that    nev  -  er  shall  die.     My  course  to  the  winds,  to  the 
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veil   the  green  shore,  That  the  heart  of    tho  wand-'rer  may  wa-ver    no 

float    on    tho  breeze,  And  my  heart  shall  be  strong  for  the  eonquestof 
stars    I       re-sign,    Butmy  soul's  quenchless  lire,  oh!  my  coun-try,  is 
dim. 


more. 

seas, 
thine. 


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190 


Studies. 


Eg! 


Allegro. 


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Folksong. 


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Awake,  My  Soul,  and  With  the  Sun. 

Bishop  Ken.  Barthelemon. 

Andante. 

-I Ur-l-rWr-l k-r    1        >..U.        „.L_^      J, 


,/>*«-      -        -  |  I  '        I         l        '      I  -      -      H-      | 

1.  A  -  \vake,rcy  soul,  and  with  the  sun   Thy  dai  -  ly    stage  of       du  -  ty    run, 

2.  Re-deem  thy  misspent  moments  past  And  live  this  day     as       if     the  last, 

3.  Let   all   thy  con-verse  be    sin-cere,  Thy  conscience  as     the  noon-day  clear, 

4.  Wake  and  lift  up      thy-self,  my  heart,  And  with  the  an  -   gels  bear  thy  part, 
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Shake  oif  dull  sloth  and  ear  -  ly    rise,    To    pay  thy  mom-ing   sac  -  ri  -  flee. 
Thy  tal-ents  to     improve  take  care,  For    the  great  day  thy-self    pre-pare. 
For  God's  all- see -ing  eye  sur-veys  Thy    se  -  cret  thot's,thy  works,and  ways. 
Who  all  night  long  un  -  wea-ried  sing  High  glo  -  ry      to    th'  e  -  ter  -  nal  King. 


Key  of  F  Minor. 


A  Study. 


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Daffodils. 


German. 


1.  Fair  Daf  -  f o  -  dils,     we  weep   to   see  You  haste     a  -  way    so  soon;     As 

2.  Stay, stay,  un  -  til       the  hast -ing  day  Has  run  but  to     e  -  ven-song,  And, 

3.  We  have  short  time      to  stay    as  you,  We    have     as  short    a  Spring,  As 

4.  We  die       as     your  hours  do,   and  dry      A  -  way     like  Suni-mer's  rain;  Or 


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hav  -  ing  prayed    to  -  geth  -  er,     we    Will    go       with    you  a  -  long. 

quick    a     growth  to    meet   De  -  cay     As       you       or      a      -  ny  -  thing. 

as     the     pearls    of     Morn-ing's    dew,       Ne'er  to  be     found  a  -  gain. 


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192 


My  Heart's  in  the  Highlands, 


Burns. 

Vivace. 


J.  M.  Courtney* 


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1.  My  heart's  in  the  Highlands,my  heart  is  not  here;        My  heart's  in  the 

2.  Fare-well  to  the  Highlands, fare  well  to  the  North,     The  birthplace  of 

3.  Fare-well  to  the  mountains, high-covered  with  snow;Farewell  to  the 

4.  My  heart's  in  the  Highlands,my  heart  is  not  here;        My  heart's  in  the 


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Vivace. 


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High  -  lands  a-chas-ing  the    deer,        A-chas-ing  the  wild  deer  and  f  oll'wing  the 

val    -  or,  the  country  of     worth;  Wher-ev  -  er      I    wan-der,wher-ev  -  er     I 

straths  and  green  val-leys  be-low;      Fare- well  to  the  for  -  ests  and  wild-hanging 

High  -  lands  a-chas-ing  the    deer,        A-chas-ing  the  wild  deer  and  f oll'wing  the 


BS2S 


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roe,     My  heart' s  in  the  Highlands  wherever      I      go. 
rove,    The  hills  of  the  Highlands  for-ev-er      I      love, 
woods;  Farewell  to  the   tor-rents  and  loud-pouring  floods. 
roe,     My  heart's  in  the  Highlands  wherever      I      go. 


My  Heart's  in  the  Highlands. 


193 


Vivace. 


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Auld  Lang  Sync* 


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Scotch  Air. 

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1.  Should  auld  ac-quaint-ance  be       for  -  got,    And  nev-er  brought  to  mind?Should 

2.  We  twa'    ha'e    run     a  -  boot     the  braes,  And  pu'd  the    gowans  flne;But  we've 

3.  We  twa*    ha'e  sport  -  ed      i'        the   burn  Frae  morn-in'     sun    till  dine,    But 

4.  And  here's    a    hand,   my  trust  -    y    frien',  And  gie's  a     hand    o'  thine;  We'll 


auld        ac-quaint-ance  be 

wan  -  der'd  mo  -  ny  a  wea 
seas        be-tween    us 

tak'         a      cup       o'  kind 

Chorus.  ^__ 


'mi 


for  -  got,     And  days      of 

ry    foot     Sin'  auld 

braid     ha'e  roared  Sin'  auld 

ness  yet      For  auld 

4=5- 


auld    lang  syne? 
lang  syne, 

lang  syne, 

syne. 


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For    auld      lang        syne,      my    dear. 


For        auld    lang       syne     We'll 
Repeat  Chorus. ff 


fmspim 


tak" 


cup 


kind   -  ness  yet        For         auld      lang    syne. 


194 


Ariel's  Song. 


Shakespeare. 

m  Allegro. 


Adapted  from  Herbert  W.  Schartau. 


-4. 


rf-i—t 


$=*=& 


-  -  rV 


Where  the    bee  sucks  there  lurk    I,  In         a     cow-slip's    bell     I        lie. 


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t;  I  '  — *       *«J     "  —ml  I 

There      I  couch  when    owls    do     cry,   there      I  couch  when    owls     do    cry, 


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On        a  bat's  back    I  do      fly    Aft  -  er    sum  -  mer     mer  -  ri    -   ly, 


m 


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Mer-  ri  -  ly,       mer-ri  -  ly    shall    I      live  now     TJn  -  der    the   blos-som  that 


.     •       *  d   .      m  — -d- 


4     _1   S 


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Ariel's  Song. 


m 


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hangs  ou    the      bough,  Mer  -  ri  -  ly,       mer  -  ri  -  ly      shall    I        live   now 


I 


mf- 


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V, 


der       the     bios     -    som     that       hangs 


on  the     bough, 


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i-  *  * 


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513: 


-«-* 


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Mer  -  ri  -  ly,       mer  -  ri  -  ly  shall    I      live  now      Un  -   der    the    blos-som  that 


-s— *- 


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hangs  on 

the 

bough, 

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ly, 

mer 

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rail. 


0 0 0 j--0 0     I       |- C g 1 D 


•         •         I  I 

shall     I        live  now        Un  -  der     the      blos-som  that   hangs   on    the  bough. 


196 


Lordly  Gallants. 


George  Withers 
Cheerfully. 


Dr.  Callcott. 


i 


fc 


¥ 


-?-0 


-#-*- 


1.  Lord-ly    Gal-lants,  tell    me    this,     Tho'    my    safe    con  -tent  you  weigh  not, 

2.  Bound  to  none  my    for-tunes    be,      This    or    that  man's  fall      I       fear  not, 


-;- 


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1.  Lord-ly    Gal-lants,  tell    me    this,     Tho'    my    safe    con  -tent  you  weigh  not, 

2.  Bound  to  none  my    for-tunes    be,      This    or    that  man's  fall      I      fear  not, 
mf 


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4=f= 


t= 


_r: 


1.  Lord-ly    Gal-lants,  tell    me    this,     Tho'    my     safe  con   -  tent  you  weigh  not, 

2.  Bound  to  none  my    for-tunes    be,      This    or    that  man's   fall     I      fear  not, 


3=3 


--- *-f- 


In  your  great-ness  what  one  bliss   Have  you  gained 
Him      I      love  that  lov-eth  me.      For      the      rest 


that  I      en  -  joy   not? 
a    pin     I     care   not. 


i 


?=y=:fg 


-?--—* 


In   your  great-ness  what  one  bliss   Have  you  gained 
Him       I      love  that  lov  -  eth  me,      For      the      rest 


-*--_&- 


lH 


that  I      en  -  joy    not? 
a    pin     I    care    not. 


In  your  great-ness  what  one  bliss   Have  you  gained 
Him      I      lovo  that  lov-eth  me,     For     the     rest 


!-' 


that   I      en  -  joy    not? 
a    pin     I     care   not. 


*=t 


— 


You  have     hon  -  or,     you  have  wealth, 
You    are      sad  when  oth  -  ers  chafe, 


J»v 


You  have     hon  -  or,     you  have  wealth, 
You    are      sad  when  oth  -  ers  chafe, 


X~ 


t 


P\      have  peace,  and      I     have  health, 
And  grow    mer  -  ry      as    they  hi  ugh. 


Lordly  Gallants. 


197 


1*=T 


£- 


'    r  t  0 


y   » 


All  the  day 
I  that  hate 
cresc. 


I        mer  -  ry,   mer  -  ry    make, 
it         and  am  free, 


And      at        night    no 
Laugh  and      weep    as 


^ 


-£-- 


All      the       day 
I        that    hate 


mer  -  ry,   mer  -  ry     make, 
and  am  free, 


^ 


And        at      night    no 
Laugh  and      weep    as 


■v 


=t 


All      the      day 
I       that    hate 


I 
it 


mer  -  ry,    mer  -  ry    make,        And      at      night    no 
and  am  free,        Laugh  and      weep    as 


1*                       — - 

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care        I      take, 
pleas  -  eth     me, 

24            —    i 

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mf 

the 
that 

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it 

mer    -  ry, 
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care        I      take, 
pleas  -  eth    me, 

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Ul 
I 

mf 

the 
that 

day 
hate 

I 
it 

mer    -  ry, 
and 

mer  - 
am 

ry 

make, 
free, 

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care 

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the 

day 

I 

pleas 

-  eth     me, 

I 

that 

hate 

it 

mer    -  ry, 
and 


mer  -  ry 
am 


make, 
free, 


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i=t 


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And     at    night  no     care       I         take,     And     at     night   no     care       I      take. 
Laugh  and  weep    as     pleas-eth        me,  Laugh  and   weep    as     pleas  -  eth     me. 
cresc.  _  f 


And     at    night  no     care       I         take,     And     at     night    no     care       I       take. 
Laugh  and  weep    as     pleas-eth        me,  Laugh  and    weep    as     pleas  -  eth      me. 
cresc.  f 


a 


- 


--> 


P=P 


take 


And    at  night    no    care        I      take,      And    at    night  no    care        I 
Laugh  and  weep  as    pleas  -  eth      me,  Laugh  and  weep   as    pleas  -  eth       me. 


J9S 


After  Many  Roving  Years. 


T.  H.  Bayly. 

Andante. 


Chas.  E.  Horn. 


Pi 


E 


-£>— ^- 


1.  Oh,  aft  -  er  ma  -  ny    rov-ing  years,  How  sweet  it  is        to  come  To  the 

2.  Ah!  nought  is  chang'd  since  last  I  gazed   On  yon-der  tran-quil  scene,  And 


m-*t-~- 


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&- 


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dwell  -  ing-place  of      ear  -  ly  youth,  Our  first,  our  dear-  est  home;  To 

sat       beneath  the    old  wych  elm  That  shades  the  vil  -  lage  green,  And 


TSf 


-0-r- 


-£=F 


^EE#£ 


f-— Sa- 


turn      a -way  our   wea  -  ry  eyes   From  proud  am-bi-tion's  tow-ers, 
watch'd  my  boat  up  -  on      the  brook    As 'twere    a     re -gal      gal- ley, 


And 

And 


•zt 


3. 


After  Many  Roving  Years. 


199 


iM 


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¥ 


j     *       • — \ 


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v- 


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-* *~ 


-* K- 


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wan-der     in  the  sum-mer  -  fields,        A-moug  the  trees  and  flowers!  Ohl 

sigh'd  not  for    a      joy     on     earth       Be-yond  the  hap  -  py     val-ley.  Oh! 


rfc — ' 

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1— ST 

fcm 

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0                   A0      e 

af 

t 

-   er  ma 

-   ny    rov-ing  years  How  sweet  it    is 

to  come                  To  the 

1 

^    i      .1- 

i 

1  1'  ;  i 
! 

^-E^-Er^i  '-;    i  - 

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«  piacere. 


-# — «— 


F,     f       ^__Z^=fzz=^_g-_U 


-#-T- 


dweli-ing  place  of      ear  -  ly  youth,    Out'  first,    our  dearest  home' 


f^r  r  r  ■  r-^s 


♦   -* 


=f=^-J— I — I L±=* 


bMf=* 


-^»  j  ».„,,  jfr«i  j  j  j  ^  j 


200 


Tenting  on  the  Old  Camp  Ground. 


Csed  by  arrangement  with  Oliver  Ditson  Company. 

Andante.  owners,of  the  copyright. 


Walter  Kittredge. 


3 


-# « — *»w- 

■»    ■*    ■*■    -*-; :  :*- 

1.  WeTre      tent-ing  to-night  on  the  old    campground,  Give  us     a  song    to 

2.  We've  been  tent-ing  to-night  on  the  old    campground,  Thinking  of  days  gone 

3.  We   are      tired    of  war     on  the  old    campground;     Ma-ny  are  dead  and 

4.  We've  been  fightingto-night  on  the  old    campground;    Ma-ny  are    ly  -  ing 
mf    ^  ^ 


*-W 


l>  I 


$=£ 


:*^fc=^: 


*=*=*=* 


Our         wea  -  ry  hearts,    a  song  of  home 

Of  the  loved  ones  at  home  that     gave  us     the  hand, 

Of  the      brave   and  true  who've     left        their  homes; 

Rome     are  dead,  and        some        are  dy  -  ing, 


And 
And  the 


I 


— * — i 


\>    U    I     \s 


:»-=* 
t     t 


Chorus. 


J 


*M  i  t  t 


"*■ 


friends  we  love    so     dear. 

tear    that  said  "good-bye!"    £, 
Oth  -  ers  been  wounded  long. 
Ma  -  ny    are  in    tears. 


mf       "•"    "•"    "•"  u 

Ma  -  ny  are  the  hearts  that  are  wea-ry    to-night, 


HE    ! 


i 


mf 


-fc 


-0 m 0 0 1 

*=• 0 #-}H 


u   ^   u   u 

N       N       N 


F* 


1 S-i ■ ( — l r (-= ^ 1- 


Wish-ing  for  the  war  to  cease,      Ma -ny  are  the  hearts  looking  for    the  right, 

_«-ii 0 0 0 0 1 1 r(2 ——v-0 0 0 0 0 »- 0 c-0-- 0 • n 


Tenting  on  the  Old  Camp  Ground, 

Last  time  ppp 


20; 


-n rs p»- 


0- 

*- 


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U       l>       U       l>  \j 

Tent-ing    on      the    old  camp  ground 


bit       U 


(Omit. 


gjy=j==*=*^=^: 


3       a: 


-v * / *- 


.)      Dy  -  ing    on    the    old  camp  ground, 
-y-i-jg g 


3q?_ |_       i    -V^E-j {-3rjg U 


cMJt 


Studies. 


fe 


JJ=^ 


4=^ 


^. 


if^Egj^ 


#-*-r— #- 


a=t 


#_^i«_#. 


» ■    —  *    m    I F »-r-?5 ^    -    I ; — |-t 


II. 


The  Key  of  F  Sharp  Minok. 
Maestoso. 


Arr.  from  Th.  Hauptner. 


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22 


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202 


Wandering. 


G.  Lang. 
Andante  con  moto. 


Arranged  from  Gruenberger. 


=4: 


y 


*=r 


^ 


mf  \j  \j 

1.  Now  comes  the  time   for  wan  -  der  -  ing,  The  whole  world  wan-ders,  too; 

2.  Ere  long     the  cloudlets  fall       in    rain    Up  -  on    the  mead-ow's  breast, 


m 


m 


e 


mf 


feg^=g 


•=nt 


y 


m 


=*=P=M4p=pd 


The  birds    come  fly  -    ing    from  the  South,  The  bee    seeks  hon  -  ey    dew, 
And,  glad      to        be        once  more    at  home,  Would  fain  lie    still    and  rest. 


-f— «?- 


— fs 

Ps IS fV- 

* 

— is — * ps_ 

cresc. 

ii*-H 

The  I 

So 

jrook  - 
I, 

let        hur-ries 
my     pleas-ant 

^1 1             -*- 

^y-*1 — H 

b 

to 
iour    - 

, K 

:K* — 

— * — (j^» — • — 

U  %' 

the  stream,  Th< 
ney    done,  Sha 

—  ^m 1        -a- 

0    '      0 . 

-§• f — *:S tr— 

i  stream  to-ward    the 
llrest,    no  more     to 
cresc. 

=fs .      5V-  -i3ar- 

> — r   *^— -tr- 

1 / i . 

sea, 
roam, 

w 


--N. 


^ 


cresc.  erall. 

-f: — *- 


And     gen  -  tie        va-pors  leave  the    earth, White  wandering  clouds  to     be. 
When      I       have  found  you,  mother      dear,     And  you,      my  hap  -    py  home 


mf 


cresc.  e  rail. 


•-' — • — ^s  - 


-0—*- 


v 


1 


Wandering 


203 


A  tempo. 


$£ 


Now  comes  the  time    for   wan  -  der 

a — s-, — * ^,- 


I 


ing     O'er    mouu-tain,  field,     and    lea, 

k N — , N s c— 


m 


■-, 


U  TT  V 

With  bird    and  bee      and    rov  -  ing    stream  I'll    wan-  der  blithe  and  free 


SE 


-)•—•- 


m 


Studies. 


204 


The  Rising*  of  the  Lark. 


i 


Con  spirito. 
mf  , 


cresc. 


Welsh. 

K     f 


2=c 


l^; 


*^F 


j  Rise,    rise,  thou   mer  -  ry  lark,  Whose  up-ward  flight    I     love    to   mark  At 
/  Leave,  leave  the  moss  -  y     lair,  With  light  "wing  cleave  the  yield-ing  air,  And 
(  Night's  ling-'ring  shades  are  fled,  And  Phoe  -  bus,  from  his      o-cean  bed,  Thro' 
)  Oh!        let      thy  mu  -  sic  sweet  His  pres  -  ence  with  glad  wel-come  greet  In 
mf  cresc  f 


;!2 


-  N 


J£ 


5?: 


car  -  ol   forth  thy  lav     \  Sweet'oh!  sweet  thehoneyed  noteThat  swells  within  thy 
ll^es^T  'de-hlht:     Hi^h-r  ^t,  yet  high  -  er   fly,    Still  soar -ing  up-ward 


flit- 


P-0-  '      -0-       -0-  ■#• 


*E 


§ 


± 


crpsc. 


fe^ 


3=^ 


V 


?         W 

war-bling  throat! 'Tis        a  stream  of    niel    -    o  -  dy   That  steals    the    rap  -  tured 
to      the    sky,      As    when  in     fair      E  -  den's  grove  Un  -to        the    new    ere - 


££: 


cresc. 


5JES5i==? 


£? 


-fcf 


soul    n    -  way.  Do  -  light-f ul  har-bin  -  ger    of  day,  My  bless-ing   go  with  thee! 
a    -     ted   pair  You  first  did  tune,  to     mu- sic  rare,  A    mer -ry  song    of    love. 

mf  cresc.  f 


3P 


5T. 


A  Summer  School. 


205 


Rebecca  B.  Foresman. 
Allegretto. 


Ludwig  Liebe. 


— V 


~ g   B    g 


±5- 


i  -*-€- 


J: 


-v1 — y1- 


1.  "lis  suna-mer,  glad  summer,  Come,  lay  your  books  a-side,  And  haste  to    na-ture's 

2.  'Tis  sum-mer,  glad  summer,  In    yon-der  clo-ver  field      A    buzz-ing    u  -  ni- 

3.  'Tis  sum-mer,  glad  summer,  And  na  -  ture    o  -  pens -wide  Her  books,  and  if    you 

f        .  . 


=E 


§5 


i 


^B= 


F 


±#=» 


:i=fi£ 


:i— 


H* 


T   *   * 

sum-mer  school  In  mead-  ow  green  and    for  -  est  cool  Where  hap  -  py  birds  teach 
ver  -  si  -  ty  Whose  teach-er      is       a     big  brown  bee,  Is     dai  •  ly    giv  -  ing 
wish  to  know  How  flow -ers  bloom  and  wil- lows  grow,  While  happy  birds   are 


SI 


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s    • 


sing-ing,  In-deed  none  can  surpass  This  glo-rious  sing  •  ing  class. 
les  -  sons  To  those  who  wish  to  know  How  clo  -  ver  bios  -  soms  grow, 
sing-ing,  Then  come  to  nature's  school  In  shad-owy    for      -      ests    cool. 


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li. 


ti-ro  -  la,.. 


ti-ro 


ti-ro  -li,      ti-ro-la. 


206 


Spring  Time  is  Returning. 


Mayxurd* 
Moderate. 


Welsh. 


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(  Spring-time  is      re  -  turn-ing,    The  win-ter  cold  and  gray,  With  snow  and  nipping 
\   Birds  sing  in    the  branches  Where  budding  leaves  are  seen,  And  ev  •  'ry  dus  -ky 

SSof  t  -  ly  blows  the  south-wind   a  -  long  the  hills  and  dales  While  mer-ri-ly  brooks 
Flocks  now  leave  the  moun-tains,  to  browse  a-round  the  fields,  And  crop  the  daint-y 


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frastwillsoonhavepass'daway; )  Nownomore  afar  is  heard  the  hunter's  winding  horn, 
hedge  is  tinted  o'er  with  green,  i 


hedge  is  tinted  o'er  with  green. 

flow  thro*  all  the  sun-ny  vales;  ) 
herbage  coming  spring-tide  yields.  J  Soon  wiU  ^aidensin  the  bowers  seekthe  violets  pale, 

--_  dim.  ^.  **. 


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And  with  care   the  farmerguards  his  fields  at  ear-  ly  morn; )  g^rin^-timeis 
Soon  thehawthorn  white  withblossom  will  perfume  thegale;  ) 


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turning;  the  winter  cold  and  gray,  With  snow  and  nipping  frost  will  soon  have  pass'd  away. 
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Sostenuto. 


The  Lord  My  Pasture  Shall  Prepare.  207 

Henry  Carey. 


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1      The        Lord 

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3.  Though  in 


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pre  -  pare,  And    feed      me 
ged    way,  Through  de  -  vious, 
I     tread,  With  gloom  -  y 


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shep-herd's  care;  His       pres-ence    shall        my  wants  sup -ply, 

paths      I    stray,  Thy     boun-ty      shall        my  pains  be -guile; 

o    -   ver  -  spread,  My     stead-fast    heart     shall  fear  no      ill, 

&^9 ;-;■ 


21 


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And  guard  me  with         a        watch-ful    eye;  My      noon  -   day     walks      He 
The    bar -ren    wil    -    der  -  ness    shall  smile,  With  sud     -   den     greens     and 
For  Thou,   O    Lord,      art      with    me    still;  Thy    rod  and      staff         shall 


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shall  at  -  tend,       And       all  my      mid    -  night     hours    de  -  fend. 

herb     -      age  crown'd;  And  streams     shall  mur  -   mur        all  a    -round. 

giye  me    aid,        And    guide       me      through  the       dread  -  ful    shade. 


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208 


Bartholomew* 

Allegretto. 


May  Song. 

UNISON  SONG. 


Mendelssohn. 


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Allegretto. 


1.  Oh!   how  sweet -]y 

2.  See    the    fair  -  est 


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mu  -  sic    ring-ing  Glides  thro' ev  -  'ry  bloom-ing  vale;      All      the  war  -  biers, 
blos-soms  beam-ing,  Pearl'd  with  morning's  pur  -  est  dews;  Gem     and  flow'r,  with 


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blithe  -  ly  sing  -  ing,     Greet.,  their    peer    -  less    night      -      in-gale. 
sunshine  gleaming,     Spar    •     kle      bright    with    rain        .    bow  hues. 


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May  Song. 


209 


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See  the  meadows  fresh  and  gay,See  the  woods,the  banks,  and  bowers,  Clad  with  verdure, 
Spring, with  all  her  blooming  train,  Crowns  each  spray  that  winter  cberish'd,  Hopes  that  once  have 


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crown'd  withflow-ers;     All,    the    ma 
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210 


Keller's  American  Hymn. 


By  permission  of  The  Oliver  Ditson  Company. 
Owners  of  Copyright. 
f  Maestoso. 

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M.  Keller. 

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1.  Speed 

2.  Fore- 

3.  Bise 

f    - 

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our    Be  -  pub  -  lie, 

most    in      bat  -  tie, 

up,  proud    ea  -  gle, 

0 

for 
rise 

! 

Fa  - 
Free 
up 

ther 

•  dom 

to 

on  high,        Lead      us      in 
to   stand,        We     rush    to 
the  clouds,  Spread   thy  broad 

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ways  of  jus  -  tice  and  right; 
when  a  -  roused  by  its  call; 
o'er  this     fair    west -era    worldl 


Bui  -  ers  as 
Still  as  of 
Fling  from  thy 

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ruled,  one  and 
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ban  -  ner     of 


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all,  Gir  -  die  with 
led  Thun-ders  our 
oldl    Show    that     it 


vir  -  tue,  the   ar  •  mor     of  might  I 
war  -  cry,    we  con  -  quer    or    fall! 
still   is      for  Free -dom    un-furled! 


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Hail!  three  timet 
Hail!  three  time 
Hail!  three  time! 

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well  as  the  ruled,  one  and  all, 
yore  -when  George  Wash-ing  -  ton  led 
beak     our  dear   ban  -  ner      of     old! 


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Gir  •  die  with  vir  •  tue,  the 
Thun-ders  our  war  •  cry,  we 
Show   that     it       still       is      for 


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ar  -  mor     of  might!     Hail!  three  times  hail  to  our  coun  -  try  and  flag! 

con  •  quer    or    fall!        Hail!  three  times  hail  to  our  coun  •  try  and  flag! 

Free-dom  un-furled!     Hail!  three  times  hail  to  our  coun  -  try  and  flag! 


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Zenfo  espressivo. 


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Harder. 


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212 


Welcome,  Wild  Northeaster! 


Charles  Kingsley. 
Allegro. 


George  Jaspersen, 


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1.  Welcome, -wild  North-east  -  er!    Shame  it     is    to     see       Odes  to    ev  -  *ry 

2.  Tired  we  are    of        sum  -  mer.  Tired  of  gaud-y  glare,    Showers  soft    and 


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zeph  •  yr,       Ne'er  a    verse  to      thee.       Wel-come,black  North-east  -  er, 
stream-  ing,       Hot  and  breathless     air.      Tired   of     list  -  less    dream  -  ing 


•:-■? 


^-M-J-J-13 


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O'er  the  German  foam,     O'er  the  Danish  moorlands, From  thy  froz  -  en    home. 
Thro' the  la-zy  day:      Jov-ialwindof  win-ter   Turn  us     out     to     play. 


Studies. 


P 


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II.    Key  of  G  Minor. 


&r4 


Reicha^dt. 


Note. — The  above  study  ia  for  three  voices,  either  the  base  or  lower  alto  may  be 


A  Study. 


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From  the  German. 

A  ndan  te.marcato 


Gypsy  Song. 


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F.  L.  Schubert. 


ft 


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-ti~-^ 


1.  'NoathSpring'sgladheav'n,  thro*  Autumn  rain,  In  Summer's  pleasure,  in  Win-ter'spain, 

2.  Where  still  in  sunshine  the  greenwoods  lie,  'Mid  trees  higk-tow'ring  to  reach  the  sky, 


3.  A  -  f ar    in  God's  wide  world  to  rove,  As  free   as      flies  each  fleet-winged  dove, 

4.  They  wander  gai-ly  till  comes  the  night,  Then  dance  and  sing  in  the  moon'a  soft  light; 


Gyp-siesroam  ev'ry  where,  Blithesome  and  free  from  care. 
Like  deer, in  bosk- y  dell  Gyp-sies  delight  to  dwell 

ifcj *— * 


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This  is  the  gyp-sies*  joy,  Pleasure  without  al -loy 

Then  in     a  grass-y  nest  Each  happy  soul  doth  rest.       '     '     ' 


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>— t— >— 7—  l&tl-s—Z—S- 


214 


A  Call  to  Battle. 


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From  the  German, 


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We  March  Away. 


Julius  Stern. 


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1-3.    Ere  yet  the  dawn    is  gray  we  march, we  march,  we      march    a  -  way — 

--*—«<    i        I  -r-r        i         i         i 


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1-3.  Ere  yet  the  dawn  is  gray  we  march, we  march  a- way,  we     march    a  -  way — Yes 


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yet   the  dawn     is    gray,   we  march,  we    march    a    •    way. 


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Ere  yet  the  dawn  is  gray,    we  march   a  -  way,     we   march   a   -   way,  a  -  way. 


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1.  How  sweet-ly  sang  the  night  -  in  -  gale  Be  -  fore  my      fa  -  ther's  door.  All 

2.  Each  knapsack's  bound, each  bundle  tied,  Each  keep-sake  hid       a  -  way  O'er 

3.  Now,  roll-ing  drum    and  shrill-ing  fife,  The   part-ing     sig  -  nal    give —  Fare- 


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farewell, 


riHH- 


We  March  Away. 


215 


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silent  now  is  wood  anddale,Her  songl'llhear  nomore,Her  song  I'll  hear  no  more, 
wea-ry  land  and  ocean  wide  Our  journey  leads  to-day,   Our  journey  leads  to-day.  Fare- 
well,dear  home  and  fatherland  I'll  love  ye  while  I  live,  I'll  love  ye  while   I    live. 


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Fare-well,  Fare-well, 

well,  Farewell, 


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seek    the  stran-ger's  shore; 


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Fare-well,  Fare-well,  The      part     -     ing  pang  is         sore. 

Fare-well,  Fare-well, 


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Suggestive  Studies. 


5  -r  ■*■■#■    -#■ 


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m m-."m 4-T-ifM *-- F-T-ti 1 • M~r — ' 

0-T-, — a==j=x^L0 — iHJiqi-p^ »- .-, — ; — ^ — i^_ 


--I 1- 


pr-*->- 


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O  Lord,  Another  Day  is  Flown. 


Henry  Kirke  White, 
Moderate. 


Isaac  Smith. 


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Be 


W  i  — ^  4^_i 

1.  O    Lord,    an  -  oth   -   er     day     is     flown,  And    we,    a        lone  -  ly   band, 

2.  Oh!     let    Thy  grace    per  -  form   its     part,    And    let   con  -  ten  -  tion  cease, 

3.  And  Thou  wilt   turn     our    wand'ring    feet,    And  Thou  wilt  bless   our  way 
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Are  met  once  more  bo  -  fore  Thy  throne,  To  bless  Thy  fost-'ring  hand. 
And  shed  a  -  broad  in  ev  -  'ry  heart  Thine  ev  -  er  -  last  -  ing  peace. 
Till  worlds  shall  fade,  and    faith  shall  greet   The  dawn    of      last  -  ing      day. 


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The  Key  of  C  Minor. 


A  Study. 


ft* 


151 


-5*- 


ZZZL 


1 


E 


:??=H^_.  3 


F 


-« >5> 


When  Night  Comes. 

UNISON  SONG. 

Louise  Reichardt. 

1.     When    night  has    clos'd      a    -     round    us,     When  earth    and      ua  -  tuie 

ry      By        y°n  -  der    sky      coli* 


A.  J.  Foxwell. 

Moderate* 


When  Night  Comes. 


217 


±£ 


sleep         The    stars    in     shin  -  ing      or    -  der    Their      si  -  lent    vi  -  gil 
ceal'd,        And  dream  of      com  -  ing   splen  -  dor    When     all  shall  be     re- 


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keep.        And  while    we     gaze    in      won  -  der      We        feel  that  heav'n  is 
veal'd.      Our    faith  that     God  will     has  -  ten     That      long    ex  -  pect  -  ed 


fei= 


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rr 


^S 


n  ^~i 


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near,  And  through  the  shrouding  darkness  His      sig  -  nal  lights  ap-pear. 
hour,      Re  -  vives  as  there  we  wit  -  uess   The       ti  -  dings  of    His  power. 


i — i — rn  ,-J — ^— ^ 


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218 


Sir  Hugh  de  Bray. 


E.  Ox£nf ord. 
!•  Andante. 


§E 


B.  Klein, 

S I N 


i: 


^— * — ?— *- 


mf 


1.  A    va-lor  -  ous  knight  of  the  good  old-en  times,  Whose  courage  all  Bri-tons    in - 

2.  He  sail'd  •with  his  king  to  the  far    Ho -ly  Land  Where  in-fi-delsscoff'd  at  strange 

3.  The  bat -tie  -was  won,  and  the  vic-torstookrest,When,woundedtodeath,andnear 


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1        ■#•-*■-# 

her-it;Hisdeedsarewellknown,e'enin  far  distant  climes, And  naught  can  be  brcath'd  in  de- 
legions;Full  stalwart  and  brave  was  the  wes-ter-ly  band  That  sail'd  to  the   Sar  -  a-cen 
dy  -ing,    A  foe-man  drewarrow,and  smote  in  the  breast  Sir  Hugh  who  in  slumber  was 


5*?: 


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strong-est   in     joust  or    in  fray  Was    he   who  was  known  as  Sir  Hugh  de  Bray . 

ground,and  his  soul  pass'd  a- way ,  So  died,  full  of    glo  -  ry,  Sir  Hugh  de  Bray. 

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1.  Land      of  great-ness,  Home  of     glo  -  ry,    Might  -  y  birth-place    of     the    free, 

2.  No  -  ble  deeds  of     old     in  •  spir  -  ing      Ev  -  'ry  heart  with    lof  •  ty     aim, 

3.  Homes  by    safe    de -fence  sur -round-ed,  Rights  which  make  our  free- dom  sure, 

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-The  Sunrise  Never  Failed  Us  Yet" 


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224 


Christmas  Day. 


Susan  Coolidge. 
By  permission  of  "The  Independent"  and  the  Author. 


Josef  Rhcinberger. 


Maestoso. 


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Twilight  at  Sea. 


Amelia  B.  "Welby. 

By  permission  of  l"ords»Lioward  &  Hulb«rt. 

p  Andante. 


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Crager-Winkworth. 


Martin  Rinkart. 


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2.  Oh!     may  this  bounteous  God,  Thro'  all     our     life    be 
8.  All   praise  and  thanks  to    God,  The  Fa  -  ther,    now   be 

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225 

Frederick  Manley. 

Allegretto  giocoso. 


taster  Ode. 


Eleanor  Smith. 


-Jt 


m 


0 * 0 « 1 PS PV-H-- * 

1.  There's  a   mu    -    sic    up      in     the   froz  -  en  hills    Of    a    ma  -  ny     voic  -    ed 

2.  A        spir  -  it  hath  come  to      the   sleep-ing  earth,  She  hath  soft-ly  kissed    the 

3.  A    -  rise,   O    ye  laugh-ter     of     low -land  leas,  For  your  woodland  sisters  are 
Allegretto  giocoso. 


^ 


->»— s — &- 


* 


-N-N- 


har-mo-ny;  It  ris-es  and  falls  with  a  thousand  trills,  And  all    the  field    with  a  glad-ness 

lifeless  snow,  With  radiant  lips  and  hath  given  birth  To  souls  of  streams  and  their  gurgling 

now  awake;  The  spirit  hath  kissed  the  anemones  And  scattered  the  light  and  the  bells  of  the 


m 


( S K- 


m 


fills, 
mirth, 
peas 


And        fountains  and  rivers  and    brooks    and  rills,     Are 
Her  wings  have  hung  o-vertbe  plac-es    of  dearth  Till  they 
And  the  chick-weed's  stars     a  -  mong    the    trees   And  the 


5* 


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Easter  Ode. 


129 


crese 


«= 


S»- 


laugh-ing      a -loud,   ye      are  free,  ye      are    free!      A    -    rise!... 

bud-ded  and  blossomed  with  life    in     the  glow;  The     light,., 

vi  -  o  -  let  blows    in      the  brake,  in     the  brake;  The    spring, 


A- 
The 
The 


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at 


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3 


?- 


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-r?     J- 


rise  from  your  darksome  bed  and  see  That    winter  and  death  have  passed  and  ye  Are 
light  of  her  eyes  hath  pierced  below  The  cells  of  the   ice,  and  bud  -  lets  grow,  And 
spring    has  come  and  in  her  wake  She  hath  brought  the  heav'ns  to  pond  and  lake — A- 


i 


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rit. 


m 


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Sfe 


■0—r 


■»•'.■ 


]a  tempo  1st  and  2nd  v. 


Va  tempo  3rd  v. 


-+K-0    .    0 — N 


-g---X-r 


2- 


»T-^-T---^-^» 


-*-: — W — * 

free^     Oflow'rs,  are  free! 
sap       to  heav'n  doth  flow, 
wake,    0  flow'rs,  a       • 


^f.»-i-,»T*-»- 


wakel 


TWffi*. 


r 


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a  tempo 


a  tempo 


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^gggi^g^Si 


230 


Tfee  Spring  Journey. 


R.  Heber. 

Moderate. 


L.  Spohr. 


$EEiEE}. 


3 


U      1/ 

green  was  the  corn  as  I  rode  on  my  way,  And  bright  were  the 
thrush  from  his  hoi  -  ly,  the  lark  from  his  cloud,  Their  cho  -  rus  of 
mild  southern  breeze  brought  a  show'r  from  the  hill,  And  yet  tho'  it 
such    be  life's  jour-ney,  and  such    be    our  skill,     To    lose      in      its 


t-i 

3-  w-4— 

i •—■ 

rA S          -N — I 

I         s 

l^ 

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1 — 

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fj      * 

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■Jt               ■» 

H* 

of      May,     And     dark    was    the      syc  -  a-more's 

dews 

on 

the      bios 

-soms 

rap  - 

ture 

sang     jov 

-   ial 

and    loud  From  the  soft    ver  -  nal      sky    to      the 

left 

me 

all    drip 

-Ping 

and  chill,       I         felt        a      new  pleas-ure     as 

bless 

•ings 

a    sense 

of 

its    ills;    Thro'     sun  -  shine  and  show'r  may  our 

fiV  l-i   * 

• 

■ 

-N 

K — 

^  •       ^     ^ 

1           T*         r»  " 

m 

\rJ'\  7  i                      i 

n* 

I       i         * 

^p 

• 

0 

1            n    *i 

Y 

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\            J    J 

^      i>      b  ■ 

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s 


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•       "     > — v     v — y       i 
leaf      to      be  -  hold     And  the  oaks    ten  -  der    leaf    was    of      ern  -  'raid     and 
soft  grass  -  y  ground,  There  was  beau-ty      be  -  neath  me,     a  -  bove,  and       a- 
on  -  ward      I    sped,         To  gaze  where  the    rain-bow  gleamed  broad  o  -  ver« 

pro  -  gress  be      e-ven  And  our  tears  lend      a     charm    to    the    pros  -  pect     of 


-0-— 


n  h  I        ^ — -  -^ 

J               r>             :^ 

—m 0 jj 

n  k 
^^i=i= 

1 

H ^ 

0      *  • 

-f= 

~h=ii 

gold,     And  the 
round,  There  was 

head,      To 
heav'n,  And  our 

1  J      i      *    1 

oaks    ten  -  der 
beau  -  ty       be  - 
gaze  where  the 
tears   lend      a      c 

leaf    was 
neath  me, 

rain-bow 
harm    to 

— b  - 

of 
a  - 
gleamec 
the 

* ■*=■ 

em  -  'raid 
bove,  and 
L broad  o    « 

pros-pect 

— # — ' 

and 
a  -  r 
ver  - 
of 

gold, 
ound. 
head, 
heav'n. 

<iV   h     '             l" 

•           m 

#»    4 

'# 

h 

1          II 

65^ v — >- 

-i 1 » 

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-f j-v— 

J  fr    H 

Wp.     0      . 

'  :      y b    ■ 

l^j   " 

— v — 

r  — 

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Come,  Ever-Smiling  Liberty. 

DUET  FKOM  "JUDAS  MACCABEUS. 


231 


dt& 


Andante. 


HandeL 


-fr- >" 


m 


W"  Eg 


==3 


ev     •     er  -   smil  -  ing  Li  -  ber-ty,  come, 


-V-A- 


, 


• W~ 


» IE 


5SS 


-+—+■ 


it 


smil  -  ing   Li  -  ber-ty,  And  with  thee  bring 


thy  joc-und  train, 


-*— *- 


F     »- 


-» — g- 


smil  •  ing    Li  •  ber-ty, 


And  with  thee  bring 


thy  joc-r 


-0 — B 1 1 — i- 

-i F — #-i — S— #- 


-# — F- 


a — f- 


52 


-F 


i 


with    thee  bring    thy      joe     •    und  train; 


f^ 


* — g- 


-*— #- 


und  train; 


train,  with  thee  bring  thy      joe 

-* — J — * — S=zF — F— *=p=^:p-#:=S=: 


3EE£ 


— *-#  — S — •-! — F-# — J 


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232 


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Come,  Ever-Smiting  Liberty. 


i 


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Come,  e v  -  ver    -    smil  -  ing  Li-ber-ty, 


m 


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Come,       ev    -    er  -  smil-ing  Li-ber-ty, 


y- 


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-7     d     •    X 


* — «- 


■t- 


For  thee  we     pant 


and  sigh,  for        thee, and 


**-r->- 


-* P-t-4 


;    '  q*— f 


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For  thee  we  pant 


and  sigh,  for  thee, 


For  thee  we  pant   and 


M 


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sigh,        for    thee, 
v 1— 


With  whom  e  •  ter    -    na!         pleas  -   ures  reign, 


S= 


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-*-T- 


sigh,        for    thee, 


With  whom  e  -  ter    •    nal         pleas  -  ures  reign, 


** 


Come,  Ever-Smiling  Liberty* 


233 


K 


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#-# 


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Come,  ev  -  er 


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smil  -  ing  Li-ber-ty, 


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1=3£±3: 


fe-T^h 


Come,  ev  -  er  -  smil-ing  Li-ber-ty, 

J     . 


m 


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y 


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With  whom  e  -  ter 


nal,  with  whom  e  -  ter-nal  pleas  -  ures 

a    .    A 


3tbE 


*  ■»- 


V- 


With  whom  e  -  ter 


nal,  with  whom  e  -  ter-nal  pleas  -  ures 


«-=^ 


!      !    !    '  Ti    !    1    !    !    Fl !    1    1    !    !    I 


I        4      \J- 


234 


K  Study. 


Andante. 

'  N 


t — i-t-t 


m 


r't     fT;     ^ 


+— *- 


JZZ 


fflr* 

S-i 

■f- 

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fv- 

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fi»3f — p- 

—0 — 
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1 1 — 

— 0 — 

u 

PS — 

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-0 — 

— h- 

—i 

*  * 

— S — Q — I 

— 1^ 1 

^^- 

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0 

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— 0 

— 0 

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y  ■ 

— # 

"* 

-f»y — 

^ 

0  *~0 

-fe 


l^^iE^ 


S 


g 


-P — =a^* 0- 


'^j 


3yfc 


*t 


Si 


J.  G.  Whittier, 

Allegretto. 


Corn  Song. 


Bernhard  Klein. 


1.  Heap  high    the       far  -  mer's   win  -    ter  hoard,  Heap  high      the    gold   -en 

2.  Thro' vales      of      grass    and  meads     of  flowers  Our  ploughs  their  fur    -rows 

3.  All     thro'    the      long,  bright  days     of    June      Its   leaves  grew  green    and 


gfr-a-r 


I 


mf 


Corn  Song. 


235 


i=3=£ 


li 


^ 


m 


cbrn.  No  rich  -  er  gift  has  au  -  tumn  poured  From  out  her  lav  -  ish 
made  While  on  the  hills  the  sun  and  showers  Of  change  -  f  ul  A  -  pril 
fair,    And  waved  in      hot  mid  -  sum-mer's  noon     Its     soft      and     yel  -    low 

"N Z •      I     m    . Z 1"** 1 3—. S 


•      ~ 


-^1 


Z^. 


0          I             > 

t.               *■ 

Is     >,     P1      s 

s 

N 

^-fc m — = m 

— b s               * 

— m P • b N- 

N — 

J *— 

J 

(L^ 

-&-*-*!-*— 

— . p — » 1 — 

V-^—4 9   t 

_* 1 

— * 

^  \'            M 

»      •   i    * 

»     *     * 

horn.     So 
played.  We  dr 
hair.    And    i 

(jjO:,     •  ~  * 

-^                0                  #                  •                                                                                                               w 

let    the  good  old    crop      a  -  dorn     The  hills 
app'dthe  seed  o'er     hill    and  plain     Be-neath 
now  with     au-tumn's moon-lit    eves         Its      liar 

i « = £ — r-# - P- i-, — *— 

-f h -f J R '         7—s — ^ ! 

y  ' 

our      fa    - 
the     sun 
■  vest  time 

r  J     m 

y 

thers 
of 
has 

— l-=5- 

s 

^    '    '    1, 

-f 1 V 

_> ^-0^ 

0 

'        *        ! 

/ 

0     *  - 

Still      let      us  for     His    gold  -  en      corn,     His 

And  fright-ened  from  our    sprout-ing    grain,    our 

We  pluck      a  -  way   the    frost  -  ed    leaves,    the 

<  N  ^^^  — * — ' ^' 

M  — W         M i- 


> 


^ 


5 — I> 


-* — a^r 


m 


trod;  Still  let  us  for  His  gold  -  en  corn,  His  gold  -  en  corn,  His 
May,  And  frightened  from  our  sprout-ing  grain,  our  sprout-ing  grain,  our 
come;  We  pluck    a  -  way  the    frost  -  ed    leaves,the    frost  -  ed    leaves,    the 


nr- 


V— 


Sim 


Still  let  us  for  His  gold  -  en  corn,  Hip 
And  frightened  from  our  sprout-ing  grain,  our 
We  pluck     a  -  way    the     frost  -  ed     leaves,  the 


P^ 


cresn. 


-0 ^r 


■ — -i — !^3- 


f 

Send 


gold    -   en     corn,      gold    -  en      corn,  Send  up       our  thanks  to  God. 

sprout-  ing  grain,     sprout-ing    grain,  The  rob  -  ber  crows  a    -  way. 

frost    -   ed  leaves,     frost  -  ed    leaves,  And  bear     our  treas-ure  home. 

CTfiSC. 


m 


dft 


II 


236 


Larghetto. 


Come,  Happy  Spring. 

UNISON  SONG. 


Giordani. 


ife 


Larghetto. 


(r 


MtA 


m 


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g 


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g-f^ld   t^ 


«: 


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r4~#  ? 


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«• — •—+■ 


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* 


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^. 


F=fr^ 


i 


riz: 


mf 


N       * 


m 


m-  •■ 


p 


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^— ^- 


Come,  hap-py  spring,      On       fragrant 


dc 


I 


v-J=3- 


fe 


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i3 


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I  I 


& 


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ft    S     N 


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w 


wing,     Bid   win-ter  gloom  far      hence    do  -  part, 


Come,  hap-py 


fc=r 


5 


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S 


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^ 


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& 


at 


p: 


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-^H* 


Come,  Happy  Spring. 


237 


Mr 


Hy-d- 


r»  is  L  ' 


3t=5t 


trn^^Ttj 


spring,  Bid  winter  gloom  far  hence  depart. 


Soft  winds  and 


5 


^ 


£ 


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I  g  i;    ;ig=g 


T= 


r  ?  » 


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i    ^    r     y     i        i.     5- 


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show'rs,  Sun  -  shine  and    flow'rs    Bring  new-born    hope  to    my    long    -    ing 


s 


& 


^Fr^» 


SjEEft 


*  y 


i=*g 


r 


< 


mf 

*- 


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BE 


■* — *- 


-N— *r 


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^ 


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£ 


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g—a    * 


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heart,  Bring  new-born  hope,      hope  to  my    heart,  hope  to  my  heart.  Come,  happy 


fe^f^^^ty=^^fejr^-ff 


. 


*EdE& 


-# — 1§- 


-i— t- 


238 


Come,  Happy  Spring. 


I 


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-* K- 


*=P3: 


^F? 


§£^ 


*  •  • 


zfZTjC 


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spring,   On    fragrant  wing,   Bid  win-ter  gloom  far  hence    depart,  Come,  happy 


& 


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t  „  r  0 


a 


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spring,        Bid   win-ter  gloom         far  hence  de  -  part, . , 


far        hence  de 


*— *-X-|7»- 


* 


< 


^^ 


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&£=* 


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part. 


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5^ 


trr 


Exercise. 


239 


-t— t 


■p*T- 


&E 


#-#- 


2=C 


J.  R.  Lowell. 


Pfc 


The  Falcon. 
> 

—J 1 ! 1 


A.  Conradi. 


^^F=^^^t 


d: 


1.  I    know      a      fal  -  con    swift    and  peer  -  less   As    e'er        was         era -died 

2.  No  harm  -  less  dove,  no      bird     that  sing  -  eth  Shud  -  ders  to     see    him 

3.  Let  fraud    and  wrong  and  base  -  ness  shiv  -  er,    For    still      be    -     tween  them 

f 


M 


:E 


-& 


ffi£ 


fet 


-5T 


:*-**: 


in       the    pine;      No      bird      had      ev     -    er     eye        so       fear  -  less      Or 

o    -    ver  -  head;      The  rush       of     his        fierce  swooping  bring  -  eth       To 

and      the      sky        The      fal    -  con  Truth     hangs  poised  for  -  ev    -    er      And 


-N s— 


*— PV 


•*— r* 1 1 1-| 1 1 1 1 ^"" f^ 1 1- -1 1 1 1  I n 


wing      so      strong     as    this  of  mine,  Or      wing  so  strong   as         this  of  mine, 
in  -  no-cent  hearts  no  thrill  of  dread, To      innocent  hearts  no       thrill  of  dread, 
marks    them  with    his  venge-ful  eye,  And  marks  them  with  his      vengeful  eye. 


mx. 


=5 

3£* 


^ 


-w- 


=N=§£ 


s 


fcl=T- 


240 


Christmas  Bells. 


From  S.  S.  Hymnal  by  kind  permission  of 

Rev.  C.  L.  Hutchins. 


Andante.  \ 


*=*- 


♦ ■#■    r 


ttT 


crtJ 


f  -   -  u  f  t  u 

1.  King  tha  bells,  the  Christmas  bells;  Chime  out  the  wondrous  8to-ry;  First  in  song  on 

2.  Wise  men  hast-ened  from  the  East,To  bring  theirrichest  treasures;  Gold,  and  myrrh,  and 

f  r*  J*  J*  j*    h  h  k  .      >  .  ^  J3J-  f  /  f-  f 


S 


*=* 


pJl 


^=pt 


4^: 


-i h fc », * h 1 m m *—i — #^ — *- ' — h *> — m 1- 

angel  tongues  It  came  from  realms  of  glo-ry;  Peace  on  earth,  good  will  to  men,  An- 
frank-in-cense,  And  jew-els  without  measure;  Himthey  sought,  although  a  King,  They 


fJr*,  ,  *  h 


' 


* 


p  ^ 


s 


^e. 


-^ — h 


V     V 


I 


rail. 


gel  -  ic  voic-es    ring-ing —  Christ  the  Lord  to  earth  has  come,  His  glorious  message 
found  in  birthplace  low  -  ly,  There  with-in      a    mang-er   lay  The  Babe  so  pure  and 


^m 


.n 


s 


% 


% 


r   r   r    r 


Chorus. 


3=P: 


-y — ' 


% 


1 


f- 


bringing. 


.    e  y^*  ',  Ring  the  mer-  ry  Christmas  bells,  Chime  out    the  wondrous  sto 


ry; 


* 


'fS     J 


h     * 


s 


^  J 


S: 


I 


£ 


'uio 

ft*. 


m 


ry 


be        to     God      on      high,  For        ev 


:?, 


VJ       f 


er  -  more  be 
*-      *-      -*■ 


glo    -  ry. 


%J.    ■ 


« 


t — r 


A  Table  of  Keys. 

Tonic  Minor.  Major. 


341 


Relative  Minor* 
A 


I 


£E 


~er 


-£l- 


^ 


-o-&- 


^~3L 


-QT 


pfe 


3C 


,-zr-fSh 


la 


do 


la 


*dfe-rf 


3Z 


-«-«- 


^sA 


s? 


i* 


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-*-<&- 


22: 


la 


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3C 


^^ft^r^^        ^js&Egj 


do 


la 


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^J^^%^^ft»=^H* 


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1  E^1  


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cS 


gfe^SEsfl 


-»-»- 


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la 


do 


la 


D 


*£ 


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Bf=^Bfl 


fc=^=^=2= 


£ 


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:4?: 


do  la 

B>  G 


la 


^ 


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JjJfe^k——^    -   — ' 


V-«-«- 


g 


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fcfc^==53: 


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AKrGJ((5Jj)  A> 


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fe=^^fl 


do 


242  The  Rudiments  of  Music 

A  Tone  is  a  musical  sound  produced  by  rapid  vibrations  and  having  the 
essential  properties  of  length  and  pitch. 

The  Pitch  of  a  tone  i9  its  highness  or  lowness. 

An  Interval  is  the  difference  in  pitch  between  any  two  tones. 

An  Octave  is  an  interval  whose  higher  tone  is  produced  by  twice  the 
number  of  vibrations  per  second  required  for  the  lower  tone. 

Owing  to  the  frequent  coincidence  of  these  vibrations,  as  shown  in  the 
following  diagram,  the  two  tones  of  an  octave  are  very  similar,  and  cannot 
be  easily  distinguished  when  sounded  together. 

When  men  and  women  sing  the  same  tune  together  their  voices  are  an 
octave  apart. 

As  every  tone  has  its  octave  above  or  below  (within  a  certain  limit),  we 
may  take  either  tone  of  a  given  octave  as  1  and  sing  another  octave  higher 
or  lower.  Octaves  may  be  thus  extended  until  the  highest  or  lowest  limit  is 
reached. 

A  Scale  is  a  succession  of  eight  tones,  progressing  by  intervals  called 
steps  and  half-steps,  with  the  eighth  tone  an  octave  higher  than  the  first. 

The  most  familiar  scale  is  known  as  the  major  scale,  the  half-steps  of 
which  occur  between  3  and  4,  and  7  and  8  The  scale  names  of  the  major 
scale  are  1,  2,  3,  4,  5,  6,  7,  8.  The  syllables,  do,  re,  mi,  fa,  sol,  la,  ti,  do, 
are  the  singing  names. 

Tone  1  of  the  scale  is  called  the  key-note,  because  it  governs  the  relative 
pitch  of  all  the  other  tones  of  the  scale,  and  is  the  point  toward  which  all 
melody  seeks  repose. 

The  tones  of  the  scale  and  their  octaves  compose  what  is  called  a  Key. 
It  is  not  necessary,  however,  to  sing  these  tones  in  regular  order  so  long  ae 
the  effect  is  pleasing. 

Other  kinds  of  scales  will  be  treated  later  on. 

The  scale  names  do  not  indicate  absolute  pitch,  for  the  scale  may  be 

sung  high  or  low ;  but  every  tone  has  a  pitch  name  as  well  as  a  scale  name. 

The  pitch  names  are  C,  D,  E,  F,  G,  A,  B,  which  are  repeated  in  every  octave. 

ma«rram  i  rji^g  8caie  may  begin  with  any  pitch,  that  is,  any  tone  may 

'  b  -?  *     be  *a^en  as  1  °f  ^ne  scale.     Tone  1  is  called  the  Key-note,  or  tonic. 

A  _6       When  1  of  the  scale  is  G,  the  key  is  G;  when  1  is  Eb,  the  key  i« 

^_5       E?,  and  so  on.     If  we  sing  the  tones  C,  D,  E,  F,  G,  A,  B,  C,  in 

v  the   order  named,   we  si'ig  fhe  major   scale,   because   the   tone- 

£—3     .  represented  by  these  pilch  names  are  arranged  (with  reference  to 

O— a      steps  and  half-steps)  to  correspond  with  the  tones  of  the  scale. 

See  diagram  1. 


243 

Dta«ram  *•  Now  if  we  take  G  for  our  key-note  and  sing  G,  A,  B,  C,  D,  E, 

( prf )  F,  G,  we  do  not  sing  the  major  scale,  because  F-G,  being  a  whole 

F  step,  does  not   correspond  with  the  half-step  7-8  in  the   scale. 

E— 6  But  if  we  substitute  Ffl  for  F,  the  correct  order  of  intervals  (steps 

D""~5  and  half-steps)  would    be  preserved.    See  diagram  2.     The  key 

( BZ3 )  °f  G»  therefore,  has  one  sharp  (F  sharp).    By  studying  the  dia- 

A— 2  g^1118  on  tne  key  pages,  it  will  be  readily  seen  how  the  different 

G— 1  keys  are  made,  and  why  the  sharps  and  flats  are  used. 

Names  of  Notes,  Staff,  Clefs. 

Notes  are  written  signs  for  tones.  They  are  written  on  or  between 
horizontal  lines  called  the  staff.  The  great  staff  has  eleven  lines.  The  mid- 
dle line  represents  the  pitch  G  and  is  called  middle  C.  The  part  of  the  staff 
above  middle  C  is  called  the  treble  staff,  and  the  part  below  middle  C  is 
called  the  bass  staff.  As  these  divisions  of  the  great  staff  are  usually  printed 
some  distance  apart,  the  middle  line  (middle  C)  is  dropped  and  signs  called 
Clefs  are  used  to  designate  them. 

The  Great  Staff. 

Treble  Staff: 


i 


^=e: 


E-F-< 


m 


Bass  Staff.  „    -C-  -Middle  C 


gES=^»=g^==^=l 


"Letters  connected  thus:  e  f,  denote  half  steps. 

The  first  line  below  the  treble  staff  and  the  first  line  above  the  bass  staff 
represent  the  same  tone — middle  C. 


Treble  Sign  or  Clef.  Bass  Sign  or  Clef. 


*U 


r 


Sometimes  called  the  G  Clef.  Sometimes  called  the  F  Clef. 

Added  or  Leger     lines  above  or  below  are  used  when  the  staff  is  not 
sufficient. 

lime  Values  of  the  Notes. 
The  relative  length  of  tones  is  indicated  by  the  shape  of  the  notes. 
Whole.  Half.  Quarter.  Eighth.        Sixteenth.     Thirty-Second. 

r         f         C         5         g 


244 


Time. 


Every  piece  of  music  is  divided  into  small  sections  of  equal  time-value, 
called  Measures.  This  division  is  made  audible  by  Accentuation  (stress) ; 
visible,  by  Bars,  which  are  perpendicular  lines  drawn  through  the  staff  (or 
staves)  at  the  end  of  each  measure.  A  double  bar  indicates  the  end  of  a 
part  or  movement. 


Measure.    Measure. 


e  (I 


He 


The  repetition  of  a  part  is  indicated  by  dots,  thus 


I 


1 


With  reference  to  the  different  note-values  and  accentuation  of  the 
measures,  different  kinds  of  time  are  formed.  The  time  is  indicated  at  the 
beginning  of  every  piece  in  the  form  of  a  fraction.  FJtjTZ  indicates  that 
there  are  three  quarters-notes  (or  their  equivalent)  EE^fizr  to  be  counted 
in  every  measure.  The  numerator  expresses  the  number  of  counts  to  each 
measure ;  the  denominator,  the  kind  (note-value)  of  counts.  Until  recently 
4  was  represented  by  (g ;    2  by  g. 

Simple  measures  are  those  of  two  and  of  three  counts,  all  the  others  are 
Compound  (4  —  2x2,  6  =  2x3,  etc.). 

A  piece  of  music  may  begin  with  any  part  of  a  measure,  this  incomplete 
measure  being  called  the  Initial  Arsis. 

Accent  is  the  stress  or  emphasis  laid  on  special  counts.  Simple  meas- 
ures have  but  one  accent,  namely,  on  the  first  count : 


r 


4 


*   f  etc. 


Compound  measures  are  formed  of  2  or  3  simple  measures,  and  thus 
have  two  accents,  the  first  being  the  stronger. 

A      A  A  n     A  A 

ir  r  r  r     i    Ills  r r 


Rhythm  is   the  regular  recurrence  of  equal   measures,  and  may  be 
expressed  in  motion  as  well  *«  *mintL 


Table  of  Note-Values. 

9 


245 


J 


1 


[ 


J 


4 


*  -  #  #  #  *  4  m       00000000       040404  0 


This  division  of  every  note  into  two  of  the  next  lower  denomination  is 
the  normal  one.  The  most  common  of  the  abnormal  or  irregular  divisions 
of  notes  arises  when  a  note  is  divided  into  three  equal  ones,  called  a  Triplet, 
Triplets  are  marked  with  a  slanting  3. 

.-j j j. j= j j j.  j=ni -a; « /J*- 

3  3  3  3  3 

The  Tie,  Slor,  Hold. 

The  Tie  (- — -)  combines  notes  of  the  same  pitch  (height)  in  such  a  man- 
ner that  they  are  held  as  one  note  of  the  value  of  all  the  notes  so  joined. 


0    # 


I        I     U 


A  Slur  ( — *0  connects  notes  that  are  to  be  sung  to  the  same  syllable. 


song. .. . 

A  Hold  (/rs),  when  placed  either  over  or  under  a  note  or  rest,  adds  to  its 
value  usually  one  measure,  less  the  length  of  the  note. 
A  Dot  after  a  note  prolongs  its  value  by  half. 

*.=«>  j.-jj.  j.=j>  /.-.£>*■ 

A  second  dot  adds  to  the  total  tone  value  half  the  value  of  the  first  dot. 


246  Rests. 

The  signs  of  silence  corresponding  to  the  various  notes  are  called  Rett*. 


Double 
Whole  Kest. 

Whole 
Rest. 

Half 
Rest. 

Quarter 
Rest. 

8th 
Rest. 

16th 
Rest. 

32d 
Rest. 

|               , 

-     S — 

1 * 

-~ 

-£-U1-^- 

— t 

— s— 

—t 

l 

l 

Eests  may  be  dotted  like  notes.     . 

Chromatics. 

Besides  the  regular  tones  of  the  major  and  minor  scales,  there  are  inter- 
mediate tones  called  Chromatics.  These  are  between  the  regular  tones  of 
the  scale,  except  where  the  half-steps  occur.  For  instance :  sharp  4  is  a 
tone  half  way  between  4  and  5  ;  flat  7  is  a  tone  between  6  and  7. 

A  half-step  is  also  called  a  semi-tone,  and  a  whole  step  a  whole  tone. 

A  Sharp  ($)  signifies  that  the  line  or  space  on  which  it  is  used  represents 
a  tone  a  half-step  higher  than  the  original  tone.  Likewise,  a  Flat  (2)  means 
a  half- step  lower.     A  Natural  flj)  annuls  the  effect  of  a  sharp  or  flat. 

A  Double  Sharp  (•*)  signifies  that  the  line  or  space  on  which  it  is  used 
represents  a  tone  a  whole  step  higher  than  the  original  tone.  Likewise,  a 
Double  Flat  (W)  means  a  whole  step  lower.  A  Double  Natural  annuls  the 
effect  of  a  *  or  W.  The  #,  %,  t?,  and  W-  are  called  chromatic  signs,  and  affect 
only  the  measure  in  which  they  occur. 

Tones  sounding  alike,  but  differently  named  and  written,  like  B  and  Qfyt 
C#  and  DJ?,  are  Enharmonic  Changes,  one  for  the  other. 

The  Chromatic  Scale. 

A  scale  progressing  by  half-tone  steps  is  termed  a  chromatic  scale. 
The   ascending  chromatic    scale  is   usually  written  with  sharps,  the 
descending  chromatic  scale  with  flats. 


falll^E^^^^^pfe^^^^l 


1 

Minor  Scales. 

There  are  two  kinds  of  minor  scales,  the  harmonic  and  melodic.  In 
the  harmonic  minor  scale  the  tones  succeed  each  other  at  the  following 
\ntervals : 

Scale  of  A  Minor  (harmonic). 


iim 


£-*t 


:n 


=— T^: 


i     1 


i      i     * 


*^F 


m 


247 

Half-steps  are  found  here  from  2-3,  5-6,  7-8 ;  whole-steps  from  1-2, 
8-4,  4-5  ;  the  progression  6-7  is  a  step  and  a  half. 

The  melodic  minor  scales  differ  from  the  harmonic  in  that  they  do  not, 
like  the  latter,  raise  merely  the  seventh  degree  both  in  ascending  and 
descending,  but  raise  in  ascending  the  sixth  and  the  seventh  degrees,  while  in 
descending  neither  of  these  is  raised. 

Scale  of  A  Minor  (melodic). 


On  each  of  the  twelve  tones  of  the  chromatic  scale  is  found  a  major 
scale,  as  well  as  the  two  minor  scales. 

The  construction  of  all  the  other  scales  after  the  model  of  C  Major  and 
A  Minor  necessitates  the  introduction  of  sharps  and  flats  which,  when  placed 
after  the  clef,  are  called  signatures;  when  otherwise  placed  they  are  called 
accidentals. 

Signatures  of  the  Most  Common  Scales. 

(Sharp  Keys.) 
Major:  C       G      D        A  E  B  Fjf 


Minor:  A        E      B 


Dff 


g 


Ef 


[tjyyisiiii 


Major: 
Minor: 


G 


(Flat  Keys.) 

E|2         Ajz 
C  F 


B£ 


Gfe 

EJ? 


^^mmm^m^m^m 


w 


We  say  of  a  composition  bearing  the  signature  of  any  of  these  scales 
that  it  is  written  in  the  key  similarly  named.  By  the  term  Key  we  under- 
stand the  relation  of  the  tones  to  an  individual  tone  as  key-note. 

The  term  Scale  applies  only  to  tones  connected  in  stepwise  succession ; 
the  term  Key  is  applied  to  every  species  of  tone-connection. 

K  :v/s  (scales)  of  the  same  signature  nre  called  relative. 

Ttit  signature  leaves  undecided  whether  a  piece  is  written  in  major  or 
in  the  relative  minor.  But  this  can  usually  be  determined  by  the  character 
of  the  melody. 


248 

Tones  beginning  on  un-accented  counts  ana  held  over  accented  ones 

are  called  Syncopations. 

sss  sssss 


IjfrfTT 


I 


C 


X 


The  degree  of  rapidity  or  slowness  of  a  piece  is  called  its  Tempo,  and 
is  indicated  by  Italian  terms.  Terms  relating  to  expression,  degree  of  tone- 
power,  delivery,  etc.,  are  also  taken  from  the  Italian. 

The  Appoggiatura  (grace  note)  is  a  short  note  without  accent,  and  its 
value  is  taken  from  that  of  the  preceding  note  or  rest. 

The  Human  Voice. 

Human  voices  are  in  general  classified  as  Bass  and  Tenor  (male) ;  Alto 
and  Soprano  (female). 

The  average  compass  of  the  mature  voice  is : 

Bass.  Tenor.  Alto.         Soprano. 


± 


i 


5 


II 


When  the  tenor  part  is  written  in  the  G  clef  the  tones  sound  an  octave 
lower  than  they  are  written. 

Intervals. 

An  Interval  is  the  difference  in  pitch  between  two  tones,  measured  by 
the  number  of  staff  degrees  used. 

Intervals  are  called  primes,  seconds,  thirds,  fourths,  fifths,  sixths, 
sevenths,  and  octaves.* 


$ 


:er=P: 


fe 


& 


vo:.z==Sb=i— E» 


I 


Primes. 


Seconds. 


Thirds. 


Fourths. 


g 


&: 


:sr 


.er_ 


t* 


Or 


tzjsn 


iter 


a:. 


m=m 


Fifths. 


Sixths. 


Sevenths. 


Octave. 


*An  octave 
is  called 


—3  plus  a  second 
F3  a  ninth. 


An  octave 
is  called 


~~  plus  a  third 
a  tenth. 


249 

The  prime,  octave,  fourth,  and  fifth,  found  between  1  and  1,  1  and  8, 
1  and  4,  and  1  and  5  respectively,  of  the  major  scale,  are  called  Perfect 
intervals. 


* 


:^\ 


±22= 


i 


Perfect.        Perfect.      Perfect.      Perfect. 

The  second,  third,  sixth,  and  seventh,  found  between  1  and  2,  1  and  8, 
1  and  6,  and  1  and  7  respectfully,  of  the  major  scale,  are  called  Major 
intervals. 


Eg  5^ 


"C 


e>- 


£?_ 


I 


Major. 


Major. 


Major. 


Major. 


"When  a  perfect  or  a  major  interval  is  extended  by  a  half-step,  as: 


Ee 


_<£- 


#*= 


¥' 


&: 


it  is  called  Augmented. 

When  a  major   second,   third,   sixth,  or  seventh  is  made  a  half-step 
smaller,  it  becomes  a  Minor  second,  third,  sixth,  or  seventh. 


Minor 


Minor. 


Minor. 


Minor. 


When  a  minor  or  a  perfect  interval  is  made  a  half-tone  smaller  it  becomes 
a  Diminished  interval. 


i 


ZZBZ 


m=^ 


:tez: 


Diminished  seventh.   Diminished  fifth. 


Inversion  of  Intervals. 


If  the  lower  tone  of  an  interval  is  put  an  octave  higher,  or  the  higher  tone 
an  octave  lower,  we  obtain  the  Inversion  of  this  interval. 


Octave.     Seventh.    Sixth. 


Fifth. 


Fourth.      Third. 


Prime. 


W 


-<ri£Zr 


£<_ 


Second.     Prime. 


Second.      Third. 


Fourth.     Fifth. 


Sixth.      Seventh.  Octavo 


I 


250 

The  inversion  of  an  interval  is  thus  seen  to  be  its  complement  to  an 
octave.  A  prime  becomes  an  octave ;  a  second,  a  seventh ;  a  third,  a  sixth ; 
a  fourth,  a  fifth,  and  vice  versa. 

The  examples  above  show  furthermore,  that  by  inversion,  major  inter- 
vals become  minor;  augmented  ones,  diminished,  and  vice  versa;  but  per- 
fect ones  remain  perfect. 

An  examination  of  the  minor  scale  will  disclose  besides  major  .and  minor 
seconds,  thirds,  sixths,  and  sevenths,  and  perfect  intervals,  the  following : 


-K 


i 


=?g— ^-— g 


A  diminished  fifth  between  the  2d  and  Gth  scale-tones. 

"     7th   "      4th 


An  augmented    " 

second 
fourth 

A  diminished  seventh 


'  3d  "  7th 

'  6th  "  7th 

'  4th  "  7th 

'  7th  "  6th 


Major. 


§H 


ffi=4: 


•f—T—m- 


-*-! 


*-*- 


*—»    0      s   ?    ?■ 


v=t- 


_« O- 


i^ 


;e=^=^=— ^ 


*-*- 


■<©—.—=- 


II 


Minor. 


Schulz. 


# 


2=5 


^ET^: 


g=^^=^,=4=g==l 


>— §• — •- 


7i— S~ 


1 


-*-*- 


t=c 


r^6i=s: 


-* (2. 


:?*=l^ 


Se^^^H 


Intervals  Compared  in  the  Major  and  the  Minor. 


P 


# *- 


-g # 


-, #- 


=t=t= 


* — * 


?M^1 


^^^£EEgsH 


^3EE* 


-a- 


I 


;4-f     ft.       f 

41       T      ^ 


-» #- 


I 


251 


-*jr 


r- 


The  intervals  found  between  1  of  the  major  scale  and  the  other  scale 
tones  are  Major  intervals,  excepting  the  fourth,  fifth,  and  octave. 


t7 


:^R= 


r-21 


Major 

Major 

Perfect 

Perfect 

Major 

Major 

Perfect 

second. 

third. 

fourth. 

fifth. 

sixth. 

seventh. 

octave. 

Comparing  with  these  intervals  those  between  2  of  the  scale  and  the 
other  scale  tones  in  order,  we  find  a  minor  third  and  minor  seventh. 


11 


Major 
second. 


Minor 
third. 


Perfect 
fourth. 


Perfect        Major 
fifth.  sixth. 


Minor 
seventh. 


Perfect 
octave. 


Between  3  of  the  major  scale  and  the  other  scale  tones  in  their  order 
■we  find  minor  second,  minor  third,  perfect  fourth,  perfect  fifth,  minor  sixth, 
and  minor  seventh,  and  perfect  octave. 


F=fc 


—&- 


-&- 


~&L 


1 


Minor 
second. 


Minor 
third. 


Perfect 
fourth. 


Perfect 
fifth. 


Minor 
sixth. 


Minor  Perfect 

seventh.        octave. 


Reckoning  with  4,  5,  and  G  as  starting  points,  we  find  no  new  intervals 


excepting  the  augmented  fourth  - 


r1?^- 


and  the  diminished  fifth. 


mm 


Intervals  of  the  Harmonic  Minor  Scale. 


^m 


Prime. 


-&~^0^^  ~&~^^^^  ^^^^^^ 

Major  Second.  Minor  Third.  Perfect  Fourth. 


Perfect  Fifth. 


Minor  Sixth.  Major  Seventh.  Perfect  Octave. 


252  Triads. 

A  triad  is  a  combination  of  a  scale  tone,  its  third  and  fifth,  as : 


i 


Triads  are  named  from  their  bass  note  or  lowest  tone. 

A  triad  may  be  found  on  each  tone  of  the  major  and  the  minor  scale,  as: 


g 


H2=g: 


:S=z2: 


w=& 


2  t% 


M 


M      II       m      d 


M 


£— ^ 


m     d      a      m     M     M  .  d      m 


m 


Triads  are  of  four  kinds :  Major,  minor,  diminished,  and  augmented. 
The  major  triad,  consisting  of  a  tone,  its  major  third  and  perfect  fifth  is 
found  on  the  1st,  4th,  and  5th  degrees  of  the  major  scale,  and  on  the  5th 
and  6th  degrees  of  the  minor  scale.  The  minor  triad  consisting  of  a  tone, 
its  minor  third  and  perfect  fifth  is  found  on  the  2nd,  third,  and  sixth  degrees 
of  the  major,  and  on  the  1st  and  4th  degrees  of  the  minor  scale. 

The  diminished  triad  consists  of  a  tone,  its  minor  third  and  diminished 
fifth,  and  is  found  on  the  7th  degree  of  the  major  and  on  the  2d  and  7th 
degrees  of  the  minor  scale. 

The  augmented  triad  consists  of  a  tone,  its  major  third  and  augmented 
fifth,  and  is  found  on  the  third  degree  of  the  minor  scale. 

Each  triad  has  three  positions  and  two  inversions. 


1st  position. 


1st  inversion. 
2d  position. 


2d  inversion. 
3d  position. 


t 


5? 


::<-?:: 


^=E 


i 


Triads  With  Their  Inversions. 
Major  Triads. 


In  C  Major.  In  A  Minor. 

On  C  or  Do.         On  F  or  Fa.        On  G  or  Sol.         On  E  or  Mi.         On  F  or  Fa. 

-a — Sl — „ __|g_r & — ,-gL 


Minor  Triads. 
In  G  Major. 
On  D  or  Re.        On  E  or  Mi.        On  A  or  La. 


In  A  Minor. 
On  A  or  La.        On  D  or  Re. 


Diminished  Triads* 


253 


la  C  Major. 
On  B  or  Ti. 


=£= 


* 


-g     a 


In  A  Minor. 
On  B  or  Ti.        On  G$  or  Si. 


Augmented  Triads. 


In  A  Minor. 
In  C  or  Do. 


mESsi 


Chords  of  the  Seventh. 

A  chord  of  the  Seventh  consists  of  a  scale-tone,  its  third,  fifth,  and 
seventh. 

A  chord  of  the  Seventh  is  found  on  each  tone  of  the  major  and  the 
minor  scales. 

The  most  important  of  these  are  : 

1.  The  chord  of  the  Dominant  Seventh  on  the  fifth  step,  or  dominant, 
of  major  and  minor.  The  chord  consists  of  the  dominant,  its  major  third, 
perfect  fifth,  and  minor  seventh. 


2d  position.       3d  position.      4tii  position. 
0  Major.         0  Minor,      let  position.    1st  inversion.   2d  inversion.    3d  inversion. 


i 


S 


-9-rrfy 


^ 


^ 


^^ 


II 


2.  The  chord  of  the  Diminished  Seventh,  found  on  the  seventh  degree 
in  minor.  It  consists  of  the  seventh  tone,  its  minor  third,  diminished  fifth, 
and  diminished  seventh. 


C  minor. 
1st  position. 


2d  position, 
let  inversion. 


3d  position. 
2d  inversion. 


4th  position. 
3d  invereion. 


Prfc 


w 


3 


P 


iE^S 


Him 


254 


Common  Italian  Terms  Used  in  Music 


A — in,  at,  to,  according  to,  for. 

Accelerando — accelerating  the  motion. 

Adagio— slow. 

Ad  libitum  (Latin) — at  pleasure. 

Agitato — agitated. 

Alia — like,  in  the  style  of. 

Allegretto — somewhat  quick. 

Allegro— quick,  lively. 

Andante — walking,  moderately  quick. 

Andantino— a  little  slower  than  Andante; 
sometimes,  more  rapid. 

Anima — soul  expression. 

Animate — with  spirit. 

Assai— very. 

Brio— fire. 

Calando — diminishing  in  tone- volume. 

Cantabile — singing,  melodious. 

Con — with. 

Crescendo  (  — —=zZZ. )— increasing  in  tone- 
volume. 

Da  capo  (D.C.) — from  the  beginning. 

Dal  segno  (D.S.)  or  (jf?)— from  the  sign. 

Decrescendo  (  ~^==—  ) — diminishing  in 
tone- volume. 

Diminuendo  (  ^rr= —  >  —diminishing  in 
tone-volume, 

Dolce — sweet,  with  expression. 

Energico— with  energy. 

Espressivo — with  expression. 

Fine — end. 

Forte  (f)— loud. 

Fortissimo  (ff)  —very  loud. 

Forza — power,  force. 

Fuoco — fire. 

Grazia — grace. 

Qraz  ioso — graceful. 

Grave— serious,  very  slow. 

Larghetto— somewhat  broad  and  slow. 

Largo— broad,  very  slow. 

Legato — connected . 

Lento — slow. 

Ma — but. 

Marcato— accented. 


Marcia— march;  alia  marcia — marchlike. 

Marziale— martial. 

Meno  mosso — slower. 

Mezzo  (a) — half. 

Moderato — moderate. 

Motto — much,  very. 

Morendo — dying,  diminishing  in   motion 

and  tone-volume. 
.Jfoto— motion. 
Non — not. 

Pesante — heavy,  emphatic. 
Pianissimo  (pp) — very  soft. 
Piano  (p) — soft. 
Pitt— more,  Pitt  forte— louder,  Piu,  mosso-* 

more  rapid. 

Presto— very  quick. 

Prima  (a) — first,  Tempo primo — in  the  orig- 
inal time  (after  an  acceleration  or 
retard.) 

Poco— little,  Poco  a  poco — little  by  little, 
gradually. 

Quasi — as  it  were,  almost. 
Ballentando  (rail.) — retarding  motion. 
Eisoluto — resolute. 
Bitardando  (rit.)  —retarding  motion. 
Bitenuto  (riten) — holding  back. 
Secondo  (a)— second. 
Sforzando  (>) 
Sforzato   (s/ 
Smorzando— dying,  diminishing  in  motion 
and  tone-volume. 

Solo  (pi.  soli.) — alone,  to  be  sung  or  played 

by  one  voice  or  instrument. 
Sostenuto — sustained . 
Staccato — detached,  disconnected. 
Stringendo — accelerating  the  motion. 

Tempo — time,  movement. 

Tenuto  (ten.) — held,  sustained. 

Tranquillo— tranquil . 

Tutti-—  all,  in  contrast  with  solo%  or  $oH* 

Tin  poco— a  little. 

Vivace,  j  „lively> 

Vivo.      ) 

Voce — voice. 


(»  ) 

sf,  sfz.)    ) 


louder,  accented. 


INDEX. 


TITLE.  COMPOSER.      PAGE. 

Above  the  C'.ear  Blue  Sky . .  .Hopkins  (Arr  )  ....  188 

After  Many  Roving  Years  ...Horn   198 

A  Happy  Life  Benedict  86 

A  Hunting  Sons Kreu'zer 135 

A  L  :mcnt  for  the  Summer  . .  Gilchrist  138 

All  Nature  Smiles  (Round).. Arnold 97 

America Carey  129 

A  Norse  Lullaby Gilchrist 141 

April      Oehme  10 

April  Shov/ers Ilatton 12J 

Archer's  C  lee J.  Stafford  Smith . .    70 

Archer,  The  Old  Melody 170 

Ariel's  Song Schartau 194 

A  Sky  Voyage French  Melody.. .      33 

A  Snowy  Day Attenhofer 174 

A  Storm Gilchrist 158 

A  Summer  School  Liebe 205 

A  Thanksgiving  Ode English 162 

Auld  Ling  Syne Scotch  Air. 193 

Autumn  GrammiArr.) 39 

Autumn  Days Baumf elder 112 

Aw  ke  !  Awake  I  The  Dawn 

islle:-e  Gatty.. 116 

Awake  My  Soul,  and   With 

the  Sun Barlhelemon 190 

Battle  Hymn  of  the  Republic 166 

Battle  Song Ilartmann  44 

Bird's  Farewell,  The Liebe 57 

Blow     Blow,   T.iou    Winter 

'ind     Stevens 177 

jroou.  t.  The Graben- Hoffmann.  100 

Bu  le  fJong Gilchrist 186 

Chappl  in  the  Wood,  The Schletterer 37 

Child  ,.nd  the  Year.  The English 7 

Christmas  Bells Mueller— Gilchrist.  137 

Christmas  Bells 240 

Christmas  Day Rheinberger 224 

Christmas  Hymn  Sullivan  (Arr.) 155 

Christmas  Rose,  The Hamma  51 

Corn*;,  Ever-Smiling  Liberty .  Handel 231 

Com".  Happy  Spring Giordani 236 

Com  ij  of  Spring,  The Mozart 51 

Con    iong Klein 234 

D  ff    1.1s German 191 

Dai;  •,  The Gilchrist  116 

Dec  ration  Day    Flemish  Folksong.  185 

Eas  erOde  Eleanor  Smith  .  ..  228 

Ev<  ning  Praver Mueller  184 

Farewell  to  the  Woods Esser  150 


TITLE.  COMPOSER.      PAGE 

Falcon,  The Conradi 23S 

PirstGrass,  The Schumann 12! 

Flower  Dances... Folksong 133 

Fly,  The Cocchi  120 

Fox  Hunt,  The English 169 

Four  Seasons,  The Clay  2fc 

Friendship Mozart 84 

Glowworm,  The Barnby  14fc 

Goodby,  Old  Year  Tyson-Wolff 156 

Good  Comrade,  The Folksong  131 

Goodnight Taubert 88 

Gypsy  Song Schubert 213 

Hail  Columbia! Phyla 86 

Happy  Life,  A Benedict  86 

Happy  Farmer,  The Schumann  164 

Hardy  Norseman,  The Norse   Na tional 

Song 43 

Hey  Baloo Schumann  95 

Hey  Ho,  to   the  Greenwood 

(Canon)   Byrd 53 

Home,  Sweet  Home Irish  Folksong 90 

How  Merrily  We  Live Este 108 

Hunting  Song,  A Kreutzer 135 

Hush-a-By-Baby Lorraine 25 

I  Lean  Against  the  Mast Mendelssohn 72 

In  April     Gilchrist 24 

In  the  Tempest Tyson-Woiff 182 

Keller's  American  Hymn Keller 210 

Kelvin  Grove Scotch 219 

King  in  Thule,  The Zelter .  127 

L  iment  for  the  Summer.  A..  Gilchrist  13fe 

Land  of  Greatness,  Home  of 

Glory Haydn  22C 

Lead,  Kindly  Light Dy/ces 222 

Light  of  Stars,  The Tyson-Wolff HI 

Lordly  Gallants Callcott 19. 

Lord  My  Pasture  Shall  Pre- 
pare, The Welsh 207 

March  ..Wendt  163 

May Billeter  46 

M  iy  Song Mendelssohn    208 

Meadow  Is  a  Battlefield.  The.  Eleanor  Smith  —    o2 

Morning  Hymn English  134 

Mother  Dear Othme 118 

Mu.-,ic Reichardt 61 

My  Heart's  in  the  Highlands .  Courtney 192 

Norse  Lulliby,  A.   Guchrist  144 

NowThanU  We  All  Our  God. Rinkart 227 

Now  the  Sun  is  in  the  West.  .Margaret  Casson..  140 


256 


256 


INDEX. 


TITLE.  COMPOSER.       PAGE. 

October German  Air 128 

O  Hemlock  Tree Folksong 130 

Old  Winter Eleanor  Smith 136 

Old  Year,  The Sciiulz 78 

O    Lord,    Another    Day    is 

Flown  Isaac  Smith 216 

O  Lord  Our  God,  Thy  Light 

and  Truth Clark 168 

Peaceful  Slumbering Storace 160 

Pleasures  of  the  Country,  The  Haydn 14 

Prayer Schubert  ... 123 

Rising  of  the  Lark,  The Welsh 2041 

Santa  Lucia Italian  Boat  Song.  146 

Sickle  Song Old  English 11 

Sir  Hugh  de  Bray Klein  218 

Sky  Voyage,  A French  Melody  ....    32 

Sleep,  Baby,  Sleep Brahms 92 

Snowy  Day,  A A/tenhofer 174 

Snow  Melts  Fast,  The Gilchrist 87 

Song  of  Praise,  A Gruenberger ,.    23 

SpinningSong Rheinberger   114 

Spirit  of  the  Summer  Time. . Irish  Folksong —     19 

Spring  Journey,  The Spohr 230 

Spring  Song Gade ^3 

Spring  Song Vogel  104 

Springtime  Is  Returning Welsh 206 

Stay  So,  Sweet  Season Seidel 77 

Storm,  A Gilchrist 158 

Summer  Days Eleanor  Smith 65 

Summer    Days  Are  Coming, 

The Schalm.... 180 

Summer  School,  A Liebe 205 

Sweet  Birds  AreSinging.The.  Walker 172 

Swinging  the  Hammock Winter/eld   98 

Tenting   on    the     Old  Camp 

Ground  Kittredge 200 

Thanksgiving  Day Canon  Ainsiee  ....  152 

Thanksgiving  Ode,  A English 162- 

The  Archer Old  Melody 170 

The  Bird's  Farewell Liebe 57 

The  Brooklet Graben- Hoffmann.  100 

The  Chapel  in  the  Wood Schletterer 37 

The  Child  and  the  Year English 7 

The  Christmas  Rose ITamma 51 

The  Coming  of  Spring Mozart 54 

The  Daisy Gilchrist  ?  !8 


TITLE.  COMPOSEh.     PAGE. 

The  Falcon Conradi  239 

The  First  Grass Schumann  121 

The  Four  Seasons Clay  '...    20 

The  Fox  Hunt English 169 

The  Fly  (Round) Cocchi 120 

The  G low  Worm Barnby  ....     148 

The  Good  Comrade  Folksong 13i 

The  Happy  Farmer Schumann  . 164 

The  Hardy  Norseman Norse   Na t   onal 

Song 43 

The  King  in  Thule ...Zeller 127 

The  Light  of  Stars Tyson- Wol     119 

The  Lord  My  Pasture  Shall 

Prepare  Carey 207 

The    Meadow    Is    a    Battle 

Field    Eleanor  S-nith  ....    62 

The  Old  Year Schulz   78 

The  Pleasures  of  the  Country  Haydn... 14 

The  Rising  of  the  Lark    Welsh  ...   204 

The  Snow  Melts  Fast ..Gilchrist     ... 87 

The  Spring  Journey Spohr 230 

The  Summer  Days  Are  Com- 
ing   Schalm 180 

The    Sunrise  Never  Failed 

Us  Yet Wilhelm  (Arr.)....  223 

The  Sweet  Birdsare  Singing.  Walker 172 

The  Wanderer Schneider 143 

S-The  Watch  on  the  Rhine  ....  Wilhelm  176 

The  Way  for  Bi  Uy  and  Me . . .  Gruenberger 12 

The  Wild  Huntsman German 132 

Tby  Mercies  Lord  (Canon)...  Tallis 18 

To  Kis  Country Klein        ....      .  .   15T 

Twilightat  Sea Folksong  22« 

Under  the  Greenwood  Tree.. Old  English 27 

Wanderer,  The Schneider 143 

Wanderer's  Song Gade 103 

Wandering Gruenberger  (Arr.)  202 

Watch  on  the  Rhine,  The....  Wilhelm  176 

Welcome, Wild  Northeaster '.  ..Taspersen 212 

We  Merry  Minstrels Purcell 15 

We  March  Away Stern 214 

When  Night  Comes Reichardt 216 

Why  Lingers  My  Gaze Welsh 189 

Wild  Huntsman,  The German 132 

Winter  and  Spring  (Canon).. Gramrn  69 


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